ML 
50 

66  F3 
1880 


UC-NRLF 


III 

B  H  337  b55 


*  1    s>  '  " 


t  A'  ^  i^ 

1  V  *  \^  *      '  -         VI 


vivsjL'j'^i.^rt'xy,  ■-.  ...■  .->..;\  A>.>i-.vv  >^,;^?'^'..-^^.?iftKv. 


m^6& 


V 


^  ■*::ll 


r;r: 


BEG   TO    ANNOUNCE    THAT    THEY    HAVE   BEEN    AWAR 

GRAND   COLD    MEDAL 

AT   THE 

^Iiitex*iia.tioiial  Inventions  Exhibition, 

1 885— LONDON— 1 885 

"For    General    Excellence  of  their   Pianos, 

AND  FOR  Several  Meritorious  and  Useful 

Inventions;"  and  also  a 

SI^EOI^L    a  OLD    MED^L 

FROM 

THE    SOCIETY    OF    AK,TS, 

1 885— LONDON— 1 885. 


DED   A 


TWO    SPECIAL    DIPLOMAS    OF    MERIT, 

Sydney  International  Exhibition,  1879. 


TWO    HIGHEST    AWARDS, 

International  Exhibition,  Philadelphia,  1876. 


GRAND  NATIONAL  GOLD  MEDAL, 

WITH   CROWX   AND    RIBBON, 

From   His   Majesty,   King  Charles   XV.,   of  S-weden,  1868. 


FIRST  GRAND  GOLD   MEDAL, 

Exposition  Universelle,  Paris,  1867. 


GRAND    TESTIMONIAL    MEDAL    AND    MEMBERSHIP, 

From  Soci6t6  des  Beaux  Arts,  Paris,  1867. 


FIRST    PRIZE    MEDAL, 

Tnternational  Exhibition,  London,  1862. 


Also  more  than  thirty-five  First  Premiums  at  American  Exhibitions,  and  testimonials  from 
the  most  eminent  Musicians,  Composers  and  Artists  in  the  world,  who  all  unite  in  the  unanimous 
verdict  of  the 

SUPERIORITY  OF  THE  STEINWAY  PIANO  OVER  ALL  OTHERS. 


EVERY  Piano  Fully  Warranted  for  Five  Years. 


1^°  Illustrated  Catalogues  mailed  free  upon  application. 


WAREROOMS, 


Steinway  &  Sons, 


STEINWAY   HALL, 


Nos.  107,  109  and  111  East  14th  Stieet, 

NE^W  YORK. 


FAUST. 


A  Lyric  Drama  in  Five  Acts. 


oom:f»osei>  by 


CHARLES  GOUNOD. 


Charles  F.  Tretbar,  Publisher,  Steinway  Hall, 

NEW  YORK.. 


^gmsmmmmumamMmmummmmmmmmmmmmm  wm]  inim 


G<i.  Fs 


THE  STORY  OF    FAUST," 

(AS  SET   BY  GOUNOD,) 

Narrated  by  Charles  Lamb  Kenney, 


Act  I. — Faust  is  discovered  alone  in  the  deep  silence  of  his  study.  The  lamp  by  which 
he  has  been  poring  over  the  volume  spread  before  him  is  about  to  expire,  and  throws  a  feeble 
and  vacillating  glimmer  upon  the  open  page  and  the  heap  of  musty  parchment  scrolls  that 
encumber  the  table.  Its  fast  sinking  light  is  an  image  of  the  soul  of  Faust,  gradually  yielding 
to  the  darkness  of  despair.  A  life  spent  in  acquiring  the  subtle  but  fruitless  learning  of  his 
age,  has  brought  no  gleam  of  true  knowledge,  and  the  unanswered  questionings  of  his  restless 
spirit  torture  him  with  the  agonies  of  universal  skepticism.  He  impatiently  closes  the  volume, 
and  as  his  eyes  turn  to  the  distant  horizon,  where  gleams  the  dawning  of  another  day  added 
to  his  weary  existence,  he  invokes  the  only  liberator  his  perplexed  and  unsatisfied  soul  can  hope 
for — Death.  But,  too  impatient  in  his  wretchedness  to  await  its  natural  advance,  he  seizes  a 
phial  that  stands  among  the  philosophical  apparatus  on  the  table,  and  having  poured  its  deadly 
contents  into  a  crystal  goblet,  he  is  about  to  drain  them,  when,  just  as  he  is  raising  the  cup  to 
his  lips,  the  voices  of  a  number  of  young  girls  are  heard  from  without  saluting  the  morn  in  a 
chorus.  The  visions  of  human  mirth  and  careless  enjoyment  of  life  which  these  sounds  evoke 
unnerve  the  soul  of  Faust  in  its  fell  purpose,  and  the  goblet,  so  many  tmies  emptied  in  the 
joyous  feasts  of  his  ancestors,  but  now  mantling  with  a  death-draught,  trembles  in  his  hand. 
He  makes,  however,  another  effort  to  raise  the  poisoned  chalice  to  his  lips,  when  agam  the 
busy  world  without  sends  its  echoes  into  his  lonely  study.  This  tune  it  is  a  band  of  field 
laborers  hastening  to  their  work,  singing  as  they  go,  and  praising  God  for  the  fruitfulness  of  the 
earth.  Faust  is  spirit-stricken  by  these  spontaneous  hymns  from  the  simple-hearted  children 
of  toil,  and,  checked  in  his  impious  purpose,  drops  the  fatal  goblet  from  his  hand.  But  his 
soul  has  been  too  long  wasted  by  the  blasting  influence  of  doubt  for  the  wholesome  impression 
thus  made  to  be  anything  but  momentary.  On  the  contrary,  he  despairs  of  the  beneficence 
and  compassion  of  the  Creator — and,  cursing  all  human  joys,  all  human  passions,  thoughts 
and  impulses,  his  own  existence,  the  dreams  of  love  and  ambition,  and  the  aspirations  of  faith 
and  piety,  he  calls  on  Satan,  the  enemy  of  mankind,  to  aid  him. 

The  invocation  is  soon  answered,  and  Mephistopheles  appears,  attired  in  the  costume 
of  a  gallant  of  that  day,  a  tall  feather  m  his  hat,  a  stout  blade  on  his  hip,  and  a  well-filled 
pouch  hanging  to  his  girdle.  Faust  is  at  first  startled  by  the  sudden  apparition,  but,  recover- 
ing himself,  IS  disposed  to  give  his  visitor,  though  invited,  but  a  sullen  reception,  and,  in  fact, 
plainly  requests  him  to  withdraw  to  the  place  whence  he  came.  The  fiend,  once  admitted  to 
parley,  however,  is  not  so  easily  got  rid  of.  Mephistopheles  pretends  to  be  piqued  at  Faust's 
apparent  want  of  faith  in  his  power,  and  challenges  the  doctor  to  afford  him  an  opportunity 

ivi68118i 


4  FAUST. 

of  displaying  it.  He  ofifers  him  riches,  glory,  i)o\ver — but  Faust  prefers  to  these  the  gift  of 
renewed  youth,  a  treasure  which  he  deems  to  comprise  all  others.  Youth,  therefore,  with  its 
enchanting  illusions,  its  wild  joys  and  tumultuous  emotions,  is  what  he  asks  the  fiend  to  endow 
him  with.  Mephistopheles  informs  him  that  the  matter  is  easy  to  him,  but  a  trifling  condition 
is  exacted,  as  is  usual  with  the  ministers  of  the  powers  below  when  gratifying  mortals  with  the 
accomplishment  of  their  wishes.  The  compact  is  that  the  fiend  is  to  serve  Faust  faithfully 
during  his  earthly  career,  but  that  terminaled,  their  positions  will  be  reversed,  and  the  master 
will  then  become  the  slave.  Mephistopheles,  a  business-like  fiend,  has  the  necessary  document 
about  him,  and  hands  it  to  Faust  for  signature.  Seeing,  however,  that  the  doctor  is  hesitating, 
he  determines  to  use  his  demoniac  power,  to  give  him  a  foretaste  of  the  raptures  in  store  for 
him  when  the  bargain  shall  be  completed.  Suddenly,  a  vision  takes  form  before  the  eyes  of 
Faust.  In  an  humble  dwelling,  by  the  side  of  a  spinning-wheel,  at  which  she  is  placidly  work- 
ing, is  seated  a  simple  village  girl.  The  guileless  purity  of  her  heart  is  as  apparent  in  the  calm 
repose  of  her  demeanor  as  are  the  tender  graces  of  her  form,  arrayed  in  all  the  freshness  of 
budding  maidenhood.  It  is  Margarita,  the  innocent  victim,  who  is  to  die  in  agony,  entangled 
in  the  toils  of  Faust's  fiendish  adviser,  as  a  dove  flutters  itself  to  death  in  the  fowler's  net. 
Faust  is  enraptured  at  the  beautiful  apparition,  and  hesitates  no  longer  to  ratify  the  compact 
by  his  signature.  Mephistopheles  takes  up  the  self-same  cup  which  Faust  had  in  his  despair 
filled  with  poison,  and  hands  it  to  him,  foaming  and  sparkling  with  the  elixir  that  is  to  renew 
within  him  the  springs  of  existence  as  it  clothes  him  outwardly  in  the  brilliant  and  fascinating 
garb  of  youth.  As  Faust  empties  the  life-giving  cup,  he  turns  to  the  vision  of  Margarita,  which 
slowly  failes  from  sight;  but  Mephistopheles  promises  the  enraptured  Faust,  who  is  now  out- 
wardly and  inwardly  transformed  from  a  decrepid,  doubt-distracted  doctor  of  letters  and  science 
to  a  youthful  and  ardent  lover,  that  his  passionate  desire  to  behold  Margarita  in  actual  and 
bodily  presence  shall  be  satisfied  that  very  day. 

Act  II. — The  scene  has  changed  to  the  exterior  of  a  tavern,  at  the  sign  of  the  God 
Bacchus,  situated  near  one  of  the  gates  of  the  town.  A  motley  crowd  is  assembled,  consisting 
of  students,  burgesses,  soldiers,  young  maidens,  and  more  mature  matrons.  The  students  are 
singing  one  of  their  drinking  songs,  the  soldiers  are  vaunting  their  powers  in  love  and  war,  the 
burgesses  are  tranquilly  discussing  the  news,  the  maidens  are  watching  the  students  and  soldiers 
with  glances  half  shy,  half  provoking,  and  the  matrons  are  indulging  in  not  over  amiable  re- 
marks on  their  younger  sisters. 

Brander,  a  pui)il  of  Dr.  Faust,  and  who  seems  equally  disgusted  with  learning,  and 
determined  to  see  the  world,  has  enlisted  as  a  soldier,  and,  in  company  with  Siebel,  a  suitor  to 
Margarita,  is  waiting,  cup  in  hand,  fi)r  a  comrade  who  is  to  accompany  him  to  the  wars,  and  who 
is  no  other  than  Valentine,  the  brother  of  Margarita.  While  Brander  is  taunting  Siebel  with 
his  love-sick  melancholy,  Valentine  joins  them;  and  he,  too,  is  rallied  for  his  sad  looks,  inspired 
also  by  the  gentle  Margarita,  for  whose  welfare  he  expresses  a  deep,  brotherly  solicitude,  as 
when  he  is  gone,  their  mother  being  dead,  she  will  be  left  without  a  protector.  Siebel  promises 
to  watch  over  her  as  a  brother,  and  the  party  is  growing  more  cheerful  again,  while  Brander 
has  struck  up  a  popular  ditty,  when  he  is  coolly  interrupted  by  Mephistopheles,  who,  having 
momentarily  parted  company  with  Faust,  is  inclined  to  afford  himself  a  little  amusement  at  the 
expense  of  the  guests  of  the  "God  Bacchus."  Ironically  apologizing  for  his  intrusion,  with 
some  words  of  affected  ])raise  for  Brander's  singing,  Mephistopheles  is  challenged  to  sing  him- 
self. He  complies  with  the  request,  and  sings  a  song  satirizing  the  passion  of  gold,  which  so 
pleases  the  party  that  they  invite  him  to  join  them  in  a  beaker  of  wine.  Mephistopheles 
accepts,  and,  while  the  licjuor  is  fetching,  amuses  himself  with  predicting  the  fortunes  of  the 


FAUST. 


company  by  inspecting  the  palms  of  their  hands.  Brander  is  told  that  he  will  be  killed  in  the 
first  engagement;  Siebel  informed  that  no  tiower  will  ever  again  approach  his  hand  without 
withering;  and  Mephistopheles  connecting  this  prediction  with  an  allusion  to  Margarita, 
Valeaitine  takes  offence  at  the  public  mention  of  his  sister's  name  by  a  stranger,  when 
Mephistopheles  warns  him  that  his  fiery  temper  will  get  him  killed  by  some  one  who  is  not  far  off, 
and,  pouring  out  a  glass  of  wine,  drinks  to  the  company.  No  sooner,  however,  has  he  tasted 
the  wine  than  he  pronounces  it  execrable,  and  offers  to  treat  the  party  with  more  drinkable 
liquor  from  his  own  private  cellar.  So  saying,  he  jumps  on  a  bench,  and  is  thus  brought  within 
reach  of  the  tavern  sign  over  their  heads,  consisting  of  a  barrel  bestridden  by  the  jolly  God, 
whom  he  apostrophizes,  at  the  same  time  presenting  his  glass  to  the  tap,  from  which  it  is  im- 
mediately filled  with  wine.  He  then  proposes  to  drink  a  bumper  to  the  health  of  Margarita; 
but  Valentine,  again  enraged  at  the  profanation  of  his  sister's  name,  dashes  the  goblet  from  the 
fiend's  hand,  and  the  wine,  falling  upon  the  ground,  betrays  its  infernal  origin  by  flashing  up 
in  a  blaze  of  fire.  Upon  this,  a  wild  tumult  ensues;  Brander,  Valentine,  vSiebel,  and  the  students 
draw  their  swords,  and  advance  upon  Mephistopheles,  who,  however,  safely  entrenches  himself 
behind  a  magical  air-drawn  barrier,  which  he  traces  round  him  with  his  sword.  In  vain  do  the 
fiend's  assailants  endeavor  to  cross  this  invincible  boundary;  they  are  arrested  as  by  a  wall  of 
stone;  and  Valentine's  sword,  raised  to  strike  his  infernal  adversary,  is  shivered  in  his  hand. 
With  this  proof  of  the  demoniacal  character  of  the  stranger,  they  resort  to  a  ready  mode  of 
exorcising  the  fiend  by  presenting  towards  him  the  hilts  of  their  swords,  which,  representing 
in  form  the  sacred  emblem  of  man's  redemption,  Mephistopheles  is  unable  to  face,  and  he  is 
thus  compelled  to  retreat,  while  Valentine,  his  friends  and  the  students  retire. 

Mephistopheles  is  now  joined  by  Faust,  who,  being  asked  by  his  diabolical  guide  and 
companion  how  they  shall  commence  their  career  of  earthly  pleasures,  desires  to  be  brought 
face  to  face  with  the  lovely  maiden  whom  he  had  beheld  in  the  vision  evoked  by  Mephistopheles. 
The  fiend  replies  that  her  purity  places  her  under  the  safeguard  of  the  Celestial  Power,  against 
which  he  cannot  contend.  Faust  then  threatens  to  abandon  the  fiend,  if  he  does  not 
immediately  conduct  him  into  her  presence,  and  Mephistopheles  replies  that,  if  he  will  have  a 
moment's  patience,  the  maid  whom  he  is  so  eager  to  behold  will  present  herself  on  the  very 
spot  where  they  are  then  standing. 

At  the  same  moment,  sounds  of  joy  and  merriment  are  heard  without,  and  a  band  of 
students  and  young  maidens,  among  whom  is  Siebel,  appear,  walking  in  couples,  arm-in-arm, 
preceded  by  fiddlers,  and  followed  by  the  burgesses  who  had  previously  appeared  on  the  scene. 
The  fiddlers  take  up  their  posts  on  a  bench,  and  the  waltzing  commences,  accompanied  by  a 
joyous  chorus.  Siebel,  who  expects  Margarita  shortly  to  pass  that  way,  refuses  to  join  the 
dancers,  and  stands  apart,  gazing  in  the  direction  whence  the  engrossing  object  of  all  his 
thoughts  is  to  appear.  Equally  longed  for  by  Siebel  and  by  Faust,  though  v^ith  feelings  of  far 
different  character,  Margarita  at  length  presents  herself  on  her  way  homeward — modest  and 
simple  in  garb — modest  and  simple,  but  exquisitely  graceful  in  demeanor.  Mephistopheles 
urges  Faust  to  accost  her,  while  he  balks  Siebel  of  his  intention  to  do  the  like  by  suddenly 
recognizing  him,  and  persistently  placing  himself  between  the  lover  and  tlie  object  of  his  passion. 
Faust,  meanwhile  boldly  addresses  Margarita  with  a  compliment  to  her  beauty,  and  offers  her 
his  arm;  but  Margarita,  with  a  few  artless  words  and  a  modest  courtesy,  rejects  both  his 
compliment  and  his  proffered  protection,  and  passes  on  her  way.  Faust,  who  seems  to  have 
expected  a  facile  conquest,  is  disconcerted  and  dejected  at  this  repulse,  but  recovers  hope  when 
Mephistopheles,  as  they  retire  in  the  direction  taken  by  Margarita,  assures  him  that  he  shall 
have  the  benefit  of  his  assistance  in  the  prosecution  of  his  suit. 


6  FAUST. 

Act  III. — We  are  in  the  garden  attached  to  Margarita's  dwellnig,  and  Siebel  is  seen  to 
enter  by  a  httle  door  in  the  wall  which  separates  the  garden  from  the  street.  He  addresses,  in 
the  rapture  of  a  fond  lover,  the  flowers  which  he  sees  before  him,  and  bids  them  plead  for  him 
to  his  mistress.  Stooping  to  gather  one,  he  finds  it  wither  in  his  grasp,  and  is  reminded  of  the 
prediction  of  Mephistopheles  at  the  tavern.  He  plucks  another,  and  still  with  the  same  result. 
At  last,  as  he  approaches  a  little  pavilion  to  which  Margarita  is  wont  to  resort  tc  perform  her 
devotions,  he  perceives  a  small  holy  water  font  at  its  entrance,  into  which  he  plungea  his  finger^ 
in  the  hopes  that  this  will  counteract  the  fiend's  malefice.  On  again  attempting  to  gather  a 
bouquet  of  flowers,  he  is  delighted  to  find  that  these  intended  messengers  of  his  love  no  hmger 
wither  at  his  touch,  and,  laughing  at  his  triumph  ov^er  the  witchcraft  of  Mephistopheles,  retires 
to  another  part  of  the  garden.  Meanwhile,  Faust  and  his  faithful  attendant  steal  sofdy  into 
the  garden,  and  overhear  Siebel's  expressed  determination,  as  he  places  the  flowers  he  has 
gathered  where  Margarita  will  discover  them,  to  declare  his  love  at  their  next  interview. 
Mephistopheles,  who  knows  that  Siebel  is  over-estimating  his  courage,  utters  a  sarcastic  ex- 
clamation, and  Siebel  hastens  away.  The  fiend  now  proposes  to  Faust  that,  as  a  counterbalance 
to  the  bouquet  of  his  rival,  they  should  present  Margarita  with  a  casket  of  trinkets,  but  Faust, 
who  is  plunged  in  a  reverie  under  the  influence  of  the  passion  which  he  feels  is  taking  a  deeper 
and  deeper  hold  on  him,  disdains  to  answer,  and  Mephistopheles  retires,  bent  on  unearthing 
some  buried  treasure,  in  order  to  procure  the  means  of  making  an  impression  on  Margarita's 
mind  favorable  to  his  diabolical  designs. 

Faust,  left  alone,  approaches  the  pavilion,  and,  profoundly  impressed  with  the  air  of  peace 
and  innocence  which  seems  to  ])ervade  the  chamber  inhabited  by  Margarita,  apostrophizes  the 
dwelling  which  has  witnessed  the  gradual  unfolding  of  so  pure  and  lovely  a  being. 
Mephistopheles  soon  re-appears,  however,  to  mar  this  wholesome  train  of  thought.  He  ha? 
brought  with  him  a  casket,  and  informs  Faust  that  Margarita  is  approaching.  Faust  declares 
that  he  will  not  disturb  the  calm  happiness  of  which  he  has  just  been  contemplating  the  dehcate 
and  indefinable  traces,  but  Mephistopheles  overcomes  his  virtuous  resolution  by  referring  to 
the  probable  success  of  his  rival  Siebel,  and  threatening  to  assist  him  by  handing  over  the  casket 
of  jewels  to  him. 

At  this  moment,  Margarita's  light  footstep  is  heard;  Mephistopheles  hastily  places  the 
casket  in  the  way  of  the  afl-unconscious  victim  of  his  arts,  and  hurries  Faust  away  to  another 
part  of  the  garden.  Margarita  then  appears,  and,  wrapt  in  thought,  slowly  advances  toward 
an  arbor  where  her  spinning-wheel  is  placed,  and,  sitting  down  beside  it,  begins  to  wind  the 
wool  around  her  spindle.  Her  mind  is  dwelling  on  the  young  stranger  who  so  boldly  accosted 
her,  and  she  acknowledges  herself  curious  to  know  his  name  and  rank — a  high  one,  as  she 
conceives,  for  only  the  high-born  wear  so  resolute  and  dauntless  a  mien.  While  thus  yielding  to 
the  interest  which  Faust  has  already  awakened  in  her  breast,  she  mechanically  pursues  her 
work,  and  accompanies  it,  according  to  her  daily  wont,  with  some  popular  ballad;  this  time  it 
was  one  which  celebrates  the  constancy  of  a  certain  king  of  Thule,  who,  having  received  a 
drinking  cup  from  his  dying  love,  goes  on  drinking  to  her  memory,  his  eyes  filling  with  tears 
as  he  empties  the  cup,  until,  feeling  the  approach  of  death,  he  casts  the  cherished  goblet  into 
the  ocean,  and,  having  watched  it  fill  and  sink,  quietly  yields  up  his  spirit.  At  the  close  of 
this  ditty,  Margarita  is  about  to  enter  the  pavilion,  when  she  perceives  the  flowers  left  by 
Siebel,  and  recognizes  them  at  once  as  his  gift,  and  the  next  moment  her  eye  lights  on  the  rich 
casket  left  by  Mephistopheles.  The  key  is  in  the  lock,  and,  yielding  to  a  natural  curiosity, 
though  not  without  some  misgivings,  she  opens  it,  and  its  dazzling  contents  are  displayed 
before  her  wondering  eyes.     She  is  tempted  to  try  the  effect  of  one  or  two  of  these  glittering 


FAUST. 


ornaments  upon  her  person,  and  a  looking-glass  being  very  opportunely  placed  within  the 
casket,  the  force  of  the  artfully-contrived  bait  to  the  innocent  girl's  womanly  vanity  is  too 
powerful  for  resistance.  First,  she  decks  herself  only  with  a  pair  of  earrings;  and,  pleased 
with  their  effect,  she  proceeds  to  fasten  a  necklace  about  her  white,  swan-like  throat;  and, 
lastly,  clasps  a  bracelet  about  her  arm ;  and  scarcely  knowing  herself  as  she  surveys  her  image 
in  the  glass,  she  wonders  what  the  stranger  would  think  of  her  thus  splendidly  bedecked.  In 
the  midst  of  her  childish  admiration  of  herself,  she  is  surprised  by  the  entrance  of  her  neighbor 
Martha,  a  dame  of  mature  years,  though  not  overburdened  with  discretion,  or  very  strict  in 
her  ideas  of  propriety.  Martha  is  astonished  to  see  Margarita  decked  out  in  costly  jewelry, 
and  interrogates  her  as  to  whence  they  have  come.  Margarita,  ashamed  and  confused  to  be 
caught  wearing  finery  which  she  does  not  at  first  dream  to  have  been  destined  for  her,  at  last, 
on  being  pressed  by  the  old  gossip  Martha,  confesses  that  she  was  addressed  in  the  morning 
by  a  gallant  young  stranger  in  the  street.  Martha  jumps  at  the  conclusion  that  it  must  be  he, 
and  adds  that  he  must  be  a  prince,  at  least,  to  make  such  a  magnificent  present.  Margarita, 
alarmed  at  the  very  thought,  is  regretfully  hastening  to  divest  herself  of  the  jewels,  while 
Martha  persuades  her  to  keep  them,  and  defy  the  gossiping  tongues  of  neighbors,  when 
Mephistopheles  suddenly  makes  his  appearance,  followed  by  Faust,  and,  with  a  profound  bow, 
apologizes  for  his  intrusion,  and  asks  for  Madame  Martha  Schwerlein. 

While  Margarita,  who  has  recognized  Faust,  is  hurriedly  replacing  the  jewels,  with  which 
she  had  adorned  herself,  in  their  casket,  Martha  announces  herself  to  be  the  identical  personage 
inquired  after.  Mephistopheles,  after  pointing  out  aside  to  Faust  that  his  present  has  been 
graciously  received,  and  that  it  is  only  because  Margarita  has  guessed  who  was  the  donor  that 
she  is  now  suddenly  taking  them  off,  proceeds  to  inform  Martha  that  he  has  news  for  her — sad 
news — which  however,  interests  but  her  alone;  and,  on  this  pretext,  takes  her  apart,  leaving 
Faust  and  Margarita  together.  The  story  which  Mephistopheles  has  trumped  up  to  gain  an 
opportunity  for  his  master  to  obtain  an  interview  with  Margarita  is,  that  Martha's  husband, 
who  had  deserted  her,  is  dead;  that  he  died  at  Padua,  and  that  Mephistopheles  had  brought 
her  his  last  words.  These  last  words  are  not,  as  Mephistopheles  recounts  them  in  his  sarcastic 
way,  over-consolatory,  but  he  recommends  the  dame  to  think  no  more  of  him,  and,  after 
waiting  the  interval  demanded  by  common  decency,  to  take  a  successor  with  a  hint  that,  were 
it  not  his  lot  to  be  ever  on  the  wing,  he  should  esteem  himself  but  too  fortunate  to  be  permitted 
to  place  the  wedding-ring  upon  her  finger.  While  Mephistopheles  is  thus  cajoling  dame 
Martha,  Faust  does  not  fail  to  improve  the  occasion,  and  gradually  overcoming  the  reserve  of 
Margarita  by  his  pressing,  but  tenderly  respectful  advances,  leads  her  into  a  conversation, 
which  proceeds  simultaneously  with  that  between  Mephistopheles  and  Martha;  and  the 
mockery  of  the  fiend,  amusing  himself  with  the  silly  vanity  of  the  old  lady,  affords  a  striking 
and  impressive  contrast  with  the  beautiful  simplicity,  modesty,  and  artless  trustfulness  with 
which  Margarita,  replying  to  Faust's  questions,  relates  the  brief  and  homely,  but  touching, 
story  of  her  life  and  of  her  present  position.  The  brother  is  gone  for  a  soldier;  a  mother,  long 
since  a  widow,  is  but  lately  dead;  and,  sadder  than  all,  the  little  sister  whom  Margarita  had 
tended  with  a  mother's  care,  and  had  learned  to  love  with  a  mother's  love,  had  been  reft  from 
her  also  by  the  ruthless  hand  of  Death. 

"Faust,  now  left  alone  with  Margarita,  Mephistopheles  having  retired,  is  deeply  touched  at 
the  affecting  disclosure  of  Margarita's  helpless  and  hapless  condition;  but  his  compassion  for 
her  only  serves  to  feed  his  lawless  passion,  and  to  increase  the  ardor  with  which  he  seeks  to 
entangle  her  inexperienced  heart.  Ere  the  interview  is  terminated,  Margarita  has  lost  her 
heart,  and,  in  her  simplicity  and  innocence,  has  confessed  it,  after  consulting  the  oracle  of  the 


S  FAUST. 

daisy — -he  loves  me,  loves  me  not" — placing  herself  completely  at  the  mercy  of  her  lover. 
Faust  now  bids  her  adieu  until  the  morrow,  when  Mephistopheles,  having  skilfully  got  rid  of 
Dame  Martha,  who  was  growing  somewhat  too  tender,  encounters  him  at  the  garden  door. 
and,  taunting  him  with  abandoning  his  opportimity,  begs  him,  at  any  rate,  to  stay  and  listen 
:o  what  the  maiden  has  to  say  to  the  stars.  At  the  same  moment  Margarita  appears  at  her 
window,  and,  believing  herself  alone,  pours  forth  aloud  all  the  tender  emotions  with  which 
Faust  has  inspired  her.  The  lover,  in  an  ecstacy  of  joy  at  this  unrestrained  acknowledgment 
of  his  conquest,  rushes  forward  and  reveals  his  presence  to  Margarita,  who,  thus  treacherously 
surprised,  and  having  now  lost  her  last  defense  against  the  demon-aided  seductions  of  her 
adorer,  lets  her  head  droop  upon  the  shoulder  of  Faust,  and  Mephistopheles,  sure  of  the  success 
of  his  infernal  plot,  leaves  the  lovers  with  a  laugh  of  fiendish  mockery. 

Act  IV. — Some  time  has  elapsed  since  Margarita's  first  inter\iew  with  Faust.  She  is  now 
sitting  dejected  by  the  side  of  her  spinning-wheel,  awaiting,  with  a  mournful,  yearning  heart, 
the  return  of  Faust,  whose  prolonged  absence  from  her  she  refuses  to  construe  into  an 
abandonment.  From  beneath  her  window  arise  the  sounds  of  girlish  voices.  They  are  those 
of  her  former  companions,  jeering  at  Margarita  in  her  misfortune ;  and  the  sting  of  their  taunts 
is  felt  the  more  deeply  as  the  poor  victim  of  an  infernal  machination  remembers  with  what 
severity  she,  too,  had  treated  one  of  her  own  sex  who  had  fallen  into  shame.  One  friend 
alone  remains  to  offer  sympathy  to  the  desolate  girl — Siebel,  the  rejected  lover — who  offers  to 
hunt  out  the  seducer  and  avenge  her  wrong;  but  Margarita's  heart  still  clings  with  fond 
affection  to  Faust,  and  will  not  harbor  one  suspicion  against  his  truth  and  constancy.  In  her 
loneliness  and  dejection,  the  conscious-stricken  girl  turns  to  the  only  true  source  of  consolation. 
Every  once  fiiendly  house  is  now  closed  upon  her:  but  there  is  one  door  which  she  may  yet 
enter,  and  which  is  always  open  to  sorrow  and  repentance.  Margarita's  dwelling  faces  the 
^  church,  and  she  hastens  to  lay  down  the  burden  of  her  heart  at  the  foot  of  the  altar.  Already 
at  the  threshold  of  the  sanctuan,-,  oppressed  with  a  sense  of  guilt,  she  falls  on  her  knees, 
beseeching  the  Di\'ine  mercy.  The  fiend,  however,  is  watching  his  victim,  and  aware  how 
near  she  now  is  to  perfect  fi-eedom  fi-om  the  thraldom  of  the  power  he  serx^es,  Mephistopheles 
whispers  in  her  ear,  as  the  voice  of  her  own  conscience,  such  hea^y  self-accusation,  and 
pictures  such  a  contrast  between  her  former  happy  innocence  and  present  abject  and  despised 
condition,  that,  for  a  time,  her  faith  in  the  power  of  repentance  is  overclouded,  and  her  soul  is 
possessed  only  with  the  terrors  of  eternal  punishment.  These  fearful  impressions  are  rendered 
more  torturing  still  by  the  chant  which  is  now  heard  fi-ora  within  the  church,  celebrating  the 
glories  and  the  terrors  of  the  last  day.  Margarita  struggles  against  the  demoniac  influence  to 
f>reserve  a  ray  of  hope,  but  the  voices  of  the  evil  spirits  commanded  by  Mephistopheles  crush 
her  spirit  with  threats  of  Divine  vengeance,  so  that  at  last  she  sinks  unconscious  in  an  agony 
of  terror  upon  the  pavement.  The  solemn  peals  of  the  organ  continue  after  the  sacred  chant 
has  ceased,  and,  as  they  slowly  die  away,  Margarita  revives,  and,  free  for  a  moment  from  her 
demoniac  tormentors,  rushes  into  the  church. 

Margarita  has  need  of  the  spiritual  strength  which  she  is  imploring,  to  bear  up  against  the 
fresh  sorrows  that  await  her.  Valentine,  her  brother,  has  returned  from  the  wars,  though 
without  his  companion  Brander,  who,  in  fulfilment  of  the  fiend's  prediction,  has  perished  in  his 
first  action.  The  soldier  is  welcomed  by  his  friend  Siebel,  whose  confusion  at  the  anticipated 
disclosure  of  Margarita's  fault  arouses  Valentine's  suspicion,  and  he  hastily  inquires  for  his 
sister.  Siebel  implores  her  brother  to  be  merciful  to  her,  and  Valentine,  shocked  at  so  ominous 
a  speech,  but  refusing  to  believe  his  sister  guilty,  rushes  into  their  house,  while  Siebel  turns 
towards  the  church,  to  prevent  the  meeting  of  Margarita  with  her  brother.     At  this  critical 


Atbft  :a  shvxn  ixiriex-  viih  Faust,  whvx  under  the  indueuce  c»f  a  glooiwv  i>jese«nment.  hesiii^test 

IV  e":^::   V  ^  .      ^  ~  ,,     .    ^  ,  ,.  .      .,     ,  .         ,.^j^ 

phelcs  i"    .  ^-  -  ■    ^  ^^    .  ,-  ;  ■  ,  -.  ..  ■  \.. ;,,  ...■....,..;;  ^\f 

Kks  g^taor.    The  s>o«»g:  he  £)rthxdth  ttoiUs  forth  Ks  fiKi«a  bestaam^  io>  en<i»  a  gtwss  *ad  tauntio^s 

■rs;:^:   :.^   >!  '  .       •    .   ,    , ^  .   Iv.>  ch«N  V  - 

^-:..:^:^:^.■   :.  ^    .^  ^.  ^   ^  ^      vO^  At  XL  .   ^ 

^ttf.  a?»d  shivers  ti  to  pieces^.    A  cvwibat  ensues  betxirt^^x  Faiust  anU  \  aknti«e>  \x  hok  ptevious 

'■-'  .;ou\. 

.pares  to  stand  by 

:    ^  .,       .  .   -...;;  :^  v....  i-  -i--  -'•>    -   "...vi  do  the  •- ■■' ■ 

>     -  --  -i  coturasje  are  unavailing  against  such  a  combination,  . 

ate*  ;v.>c-..^>.c  '        ^  -  hurries  Faxisi  a\va\\  and  ihe  uetgix- 

K'lTS,  arouscvi  a:  ,.,.   .    .:  ...- .ojfte.  his  hte  tas;  .^bbing.     Margarita 

makes  her  >rav  throttjsh  the  ctv>wvJ  and  Uitv>\x^  h<Msetf  oix  her  knees  bv  the  side  of  her  brother. 

•  "  .        ^  -    .      ^      ■  .  -  .  V    .^,;rita, 

:xv  . :  r^  a  cueer  of  shame  and  misery  tor  her,  and  upbraiding  hw  ifcor  still  preservij>^  the 


sod  despssr  vM  Mar^^artta,  whom  Siebel  dravn-^s  axsray  ftom  the  dreadlul  scene. 

ActV,-:--.-^--     -■-■■-•-  , •-,,<--*...  ...  V    .^.     .^-^   ■-,.         •    -s  Faust. 

with  a  view  ;,        .  .  ;.>  drvnvn 

the  last  muTtnvirs  ot  cvxnscjence  wuh  a  revivai  or  the  orgies  whtch  marked  the  most  dissolute 
't>e---  '  ■  ^  -  <  -^f  the  desired  efiect.  In  the  midst  of  the  revelr>- to  which  he  has 
>  u  -■.  goWet  in  hand,  Faxist  is  singinsr  an  anacreontic  eifusion,  a  vxiice 

rc-  -     .ce,  causes  a  thrill 

:o  , >      -  ,  -  ,.--  j: >  > .-    .„-  ..J  >.  and  the  name  of 

Margarita  escapes  his  tremWing  lips.  At  the  same  moment,  a  pale  phaniv>m.  in  whose  livid 
te-xv-.-x^  h;-  .         ,  \  .  .-.while.  .^  \nly 

var.shcs,      ;    ^  ,  s:s  on  b.      ,  ,  i  to 

Margarita  by  M .  .  les>  whom  he  forcibly  dia^  along  with  him,  while  he  pierces  his 

way,  s^^      "  gh  the  host  of  demoaas  and  infernal  mcmsters  that  besei  him,  and 

seek  to  -  -e. 

With  this  prelude  we  ar?  introduced  to  the  las*  scene  of  this  tragic  drama — a  prison. 

rr. .     -is  been.  .  -ar- 

ance,  cvxseh  aas  des::  awsuts  m  a  dungeon  the  doom  of  human 

justice-     M  .es  has  ^ ...-.      .    .rison  ke\-s  from  the  sleeping  jailor,  and 

Faiisi  er.'.c-T-  where  his  victim  lies  sleeping,  during  i  brief  respite  irvm  the  restless 

.t.-.  -         her  and  she  awakens, 

ajj.._    ,,. ^ .- .  .  u  she  is  ready  to  clasp 

once  tac»e  to  h«^  besom  with  all  ti»e  trusting  love  of  foimer  days.  But  as  Faust  urges  her  to 
5y  "       '    -  :hat 

>.e  ~  .  unt 

Tts  ruins.     Miephsstv>phrfes  now  appears  and  urges  them  to  hasie,  as  the  day  k  dawning,  and  it 


10  FAUST. 

will  soon  be  too  late  to  effect  the  escape  of  the  prisoner.  Margarita's  excitement  increases  at 
the  aspect  of  the  hated  fiend,  to  whom  she  has  ever  attributed  all  her  misfortunes,  and,  kneeling 
in  an  ecstacy  of  pious  abandonment,  she  calls  upon  heaven  and  its  pure  angels  to  protect, 
forgive  and  receive  her.  A  noise  is  heard  as  of  some  one  approaching;  Faust  again  presses 
her  to  escape;  but  a  gleam  of  memory  flashes  upon  her  as  she  gazes  in  his  face  and  recognizes 
the  murderer  of  her  brother.  Shrinking  wildly  from  his  blood-stained  touch,  she  sinks  upon  the 
ground  and  yields  her  spirit — not  to  the  infernal  powers  as  Mephistopheles  implies  by  his 
exclamation  "Accursed  I"  but  to  the  heavenly  protection  which,  even  in  her  madness,  she  had 
implored,  as  is  announced  by  the  celestial  voices  which  proclaim  her  "  Saved ! " 


BIOGRAPHICAL  SKETCH  OF  GOUNOD. 

BY  G.  A.  MACFARREN. 


CHARLES  GOUNOD  was  born  at  Paris  in  1818.  He  first  studied  harmony  under 
Relcha;  at  the  age  of  eighteen  he  entered  the  counterpoint  class  of  Halevy  in  the  Con- 
servatoire, and  subsequently  went  through  a  course  of  lyric  composition  under  Lesueur. 

At  the  age  of  twenty-one,  he  gained  the  prize  of  the  Institute,  making  a  very  successful 
entry  upon  public  notice  by  the  performance  of  a  Mass  of  his  composition  at  the  church  of 
St.  Eustache.  He  went  to  Rome  to  complete  his  studies,  where  he  produced,  in  1841,  a  second 
Mass;  this  was  given  at  the  church  of  St.  Luigi  dei  Francesi,  and,  in  testimony  of  its  merits, 
he  received  the  rare  distinction  of  being  named  honorary  Maestro  di  Capella  for  life.  Gounod 
proceeded  thence  to  Vienna,  where,  in  1842,  he  produced  a  requiem,  and,  in  the  year 
following,  another  sacred  work  for  performance  in  Lent.  He  returned  to  Paris,  and  was  ap- 
pointed Maitre  de  Chapelle  to  the  church  of  the  Missions  Etrangeres,  and,  for  some  years, 
devoted  himself  to  compositions  for  the  concert-room,  among  which  may  be  noticed  a  cantata, 
called  "Pierre  I'Hermite;"  two  choral  pieces,  named  "La  danse  de  I'epee"  and  "Le  Vin  des 
Gaulois,"  and  several  orchestral  symphonies. 

Hj  became  ambitious  to  write  for  the  stage,  and  being  introduced  to  Mad.  Viardot,  she 
encouraged  him  in  the  idea  by  promising  that,  if  he  would  compose  an  opera,  in  which  she 
might  sustain  the  principal  character,  she  would  interest  herself  to  obtain  the  production  of  the 
work.  Thus  stimulated,  he  wrote  the  opera  of  "  Sapho,"  which  was  performed,  through  the 
influence  of  the  prima-donna,  at  the  Academic  Imperiale,  in  April,  1851,  and  was  given,  also 
at  her  recommendation,  at  the  Royal  Italian  Opera,  London,  in  the  summer  of  the  same  year. 
It  met  with  no  success  in  London,  and  even  in  Paris,  though  it  raised  the  composer's  reputation, 
it  had  but  a  short-lived  career. 


FAUST. 


11 


In  1852,  Gounod  wrote  choruses  for  Ponsard's  tragedy  of  "  Ulysse,"  which  was  performed 
at  the  Theatre  Fran^ais,  and  in  1854  he  brought  out  his  second  opera,  "  La  Nonne  Sanglante," 
at  the  Academie.  He  was  appointed  director  of  the  Orpheonistes,  in  Paris,  in  1852,  and 
exerted  his  talents,  for  some  years,  in  promotion  of  the  objects  of  that  very  important  musical 
organization.  In  1859,  Gounod  again  appeared  as  a  dramatic  composer,  when  his  opera  of 
"Faust"  was  given  to  the  Theatre  Lyrique,  with  Mad.  Miolan  Carvalho  as  the  heroine,  and, 
achieved  a  success  that  bears  no  comparison  with  that  of  any  of  his  other  works,  placing  him 
very  high  in  the  ranks  of  the  living  composers  of  his  country.  In  February,  i860,  he  produced, 
at  the  same  theatre,  and  with  the  same  singer  in  the  principal  part,  the  opera  of  "  Philomon  et 
Beaucis,"  and  in  the  following  August,  at  Baden-Baden,  another  of  less  pretension,  called 
**La  Colombe." 

An  ardent  admirer  of  Gluck,  it  has  been  Gounod's  aim,  in  dramatic  composition,  to  revive 
the  principles  of  that  great  master,  giving  paramount  importance  to  declamation  as  an  em- 
bodiment of  the  action  of  the  scene — above  the  value  of  melodious  grace  and  prettiness — and 
he  has  been  aided,  in  the  carrying  out  of  his  views  in  construction,  by  his  friends  Barbier  and 
Carre,  who  have  generally  written  the  words  of  his  operas.  It  may  not  be  said  of  Gounod 
that  he  accomplishes  the  great  effects  which  distinguish  the  music  of  his  chosen  model  3  but  he 
has  considerable  dramatic  power,  great  depth  of  sentiment,  and  decided  originality  of  thought, 
which  qualities  are  far  more  felicitously  represented  in  his  later  operas,  than  in  his  orchestral 
and  sacred  compositions. 

[Since  the  above  was  written,  Gounod  has  produced  other  grand  operas — "Mirella"  and 
"  Romeo  and  Juliet,"  both  of  which  have  been  performed  with  moderate  success  in  this  country; 
but  "  Faust  remains  the  most  celebrated  of  Gounod's  works,  and  is  one  of  the  most  popular 
operas  in  the  repertoires  of  the  English,  French,  German  and  Italian  Companies. 

Between  the  years  1862  and  1867,  "Faust"  was  performed  in  Italian,  at  Her  Majesty's 
Theatre,  London,  fifty-six  times,  being  one-ninth  of  the  whole  number  of  performances  given, 
and  more  than  double  the  number  of  any  other  opera,  "Trovatore"  excepted. — G.  W.  T.,  Jr.] 


CHARACTERS    REPRESENTED. 


Faust. 

Mephistopheles. 
Margarita. 
Valentine,  a  Soldier. 


SlEBEL. 

Brander,  a  Soldier. 
Martha  Schwerlein. 


Chorus — Students,  Soldiers,  Villagers,  Angels,  Demons. 


tt^ 


HHSnew^ 


FAUST. 


ACT  I. 


Scene  I. — Faust's  study.  He  is  seated  at  a  table  covered 
with  books  and  parchments.  It  is  nearly  morning,  and 
his  lamp  is  on  the  point  of  going  out. 

Faust. 
''Vain!  In  vain  do  I  call, 

Through  my  vigil  weary, 

On  creation  and  its  Lord, 

Never  a  reply  will  break  the  silence  dreary — 

No  sign — no  single  word. 

Years — how  many? — are  now  behind  me; 

1  look  in  vain  !  I  learn  in  vain !  vain !  vain ! 

The  stars  grow  pale ;  the  dawn  doth  heaven 

cover; 

Mysterious  night  passes  away,  [  Despairingly.  ] 

Another  day,  and  yet  another  day. 

O   death!    come   in   thy   pity  and  bid  the 

strife  be  over. 

What  then  ?  If  thus  death  will  avoid  me, 

yVhy  sliould  I  not  go  forth  and  seek  him? 
/ad  hail  to  my  last  dreary  day ! 

Awaiting,  without  pain. 

That  death  for  which  I'm  longing; 

And  I  know,  while  this  cup  holding, 

Of  my  destiny  I'm  lord  ! 

Chorus  of  Girls. 

[^Passing  without  the  window. '\ 

Ah  !  careless,  idle  maiden, 
Wherefore  dreaming  still? 
Day  with  roses  laden 
Cometh  o'er  the  hill. 
The  blithe  birds  are  singing, 
And  hear  what  they  do  say : 
'^Through  the  meadows  ringing 
The  harvest  is  so  gay." 


Brooks  and  bees  and  flowers 
Warble  to  the  grove. 
Who  has  time  for  sadness! 
Awakq^to  love ! 

Faust. 
Foolish  echoes  of  human  gladness, 
,Cro  by,  pass  on  your  way! 
Goblet  so  often  drained  by  my  father's  hand 

so  steady. 
Why  now  dost  thou  tremble  in  mine  ?  \  j 

CJiorus  of  Reapers.       [  without.  ] 

Cometh  forth,  ye  reapers,  young  and  hoary ! 
'Twas  long  ago  the  early  swallow 
Went  up  where  eye  can  never  follow — 
Yonder  in  the  blue,  far  away. 
The  earth  is  proud  with  harvest  glory! 
Rejoice  and  pray. 

Faust. 
If  I  pray  there  is  none  to  hear — 
To  give  me  back  my  love, 
Its  believing  and  its  glow. 
Accurst    be    all    ye    thoughts    of  earthly 

pleasure, 
And  every  by-passed  treasure, 
Which  by  memory  binds  me  below! 
Accurst,  ye  toys,  which  did  allure  me, 
Yet,    when '  possessed,    no    rapture    could 

secure  me. 
Fond  dreams  of  hope!  ambitions  high. 
And  their  fulfillment  so  rare! 
Accurst,  my  vaunted  learning, 
And  forgiveness  and  prayer! 
Accurst  the  patience  that  calms  the  yearning! 
Infernal  king,  appear ! 

IMephistopJieles  appears.] 


14 


FAUST. 


Mcphistopheles. 
Here  am  I! 

You  stare  as  you  greet  me. 
Does  it  fright  you  to  meet  me? 
With  sword  ai  my  side, 
And  a  cap  on  my  head, 
And  a  purse  rather  heavy, 
And  a  gay  velvet  cloak  on  my  shoulder, 
I  travel  as  noblemen  travel. 
Speak  out,  wise  man,  what  is  your  will? 
At  once  tell  me.     Are  you  afraid? 

Faust. 
No. 

Mephistopheles. 
Do  you  doubt  my  might  to  aid  youf 

Faust. 
It  may  be. 

Mephistopheles. 
It  were  easy  to  prove  me. 

Faust. 
Begone ! 

Mephistopheles. 
Begone!  Is  this  the  way  you  cheat  me. 
Now  learn,  old  man,  with  all  your  skiU, 
Well-born  hosts  politely  treat  rae! 
Call  for  aid  from  far  away  ! 
Then  to  say  "begone!"  as  if  to  beat  me! 

Faust. 
Canst  thou  do  aught  for  me  ? 

Mejyhistophelcs. 
Aught!     AU!     But  first  let  me  hear 
What  I  must  do.     Is  it  gold? 

Faust. 
What  is  gold  to  me  -who  hath  learning? 

Mephistopheles. 
Good !  Methinks  I  can  fancy  your  yearning. 
'Tis  then  for  glory? 

Faust. 
No,  for  more. 

Mephistopheles. 
For  a  kingdom? 

Faust. 

No.     I  would  have  thee  restore 

What  outbuys  them  all. 

My  youth,  my  youth  restore  me! 


The  pleasures  of  youth! 

Its  life  and  its  pleasure ! 

No  dark  thought  shall  suU}'- 

Its  joy — and,  forsooth. 

Why  manhood  is  wasted. 

While  searching  day  and  night. 

For  that  mist  called  Avisdom, 

Which  flees  from  the  sight — 

Eludes  us  for  ever; 

And  little  we  know. 

Which  crowns  the  hard  labor 

One  has  te  bestOAv! 

Why  time  is  thus  wasted, 

I  fain  then  would  know. 

Mephistopheles. 
'Tis  well — 'tis  well! 
Be  young  and  enjoy  without  measure. 
I  will  content  your  wildest  craving. 

Faust. 
And  what  shall  thy  guerdon  be  f 

Mephistopheles. 
What  my  fee  ? 
Hardly  worth  having. 
Up  here,  I  will  wait  on  your  pleasure  ] 
But  down  there  you  must  wait  on  me. 

Faust. 
Below ! 

Meph  istophelcs. 
Below!     Come  on,  sign  it? 
What  now !     ^Miat  appalls  you  ? 
Needs  there  more  to  chase  the  cold? 
Is  it  woman,  that  calls  you? 
Doubt  not,  but  turn  you  and  behold! 

[TAe  vision — Marguerite  is  seen  sitting  at  her  spin 
ninr/  wheel.  ] 

Faust. 
Heavenly  vision! 

Ilejjh  istopheles. 
Shall  she  love  thee? 

Faust. 

Give  rae  her. 

MephistopJieles. 

It  is  done ! 

{^Faust  signs  the  parchment.'] 

For  the  rest  of  the  chapter 

[  Taking  up  the  goblet] 

'Tis  I  who  wait  upon  you. 


FAUST. 


15 


To  drain  from  your  goblet 

The  nectar  of  the  sun. 

No  more  of  death — poison  no  more, 

But  life  and  rapture. 

Faust. 
I  am  thine !  Angel  from  heaven,  come  down ! 

[He  empties  the  goblet  and   is  transformed   into    a 
youwj  man.     The  vision  disapjtears.  ] 

Mephistopheles. 
Come! 

Faust. 

Shall  I  see  her  again? 

Mephistopheles. 


Faust. 

Mephistopheles. 

Faust. 


It  seems  so. 

When? 

Why,  to-day. 

Away ! 

Mephistopheles. 
Away  then — away ! 

Faust. 

Be  mine  the  delight 

Of  beauty's  caresses, 

Her  soft  wavy  tresses. 

Her  eyes  beaming  bright. 

Be  mine  the  warm  current 

Trilling  every  vein — 

Passion  in  torrent. 

Which  nothing  can  rein ! 

The  rapture  whose  pleasure 

To  time  giveth  flight ! 

O  youth,  without  measure 

Be  mine  thy  delight. 

Mephistopheles. 
Be  thine  the  delight 
Of  beauty's  caresses, 
Her  soft,  wavy  tresses, 
Her  eyes  beaming  bright. 
Be  thine  the  warm  current 
Filling  every  vein, 
Share  passion  in  torrent 
Which  nothing  can  rein, 
And  the  rapture  whose  pleasures 
To  time  giveth  flight. 
O  youth !  without  measure 
Be  thine  the  delight. 


Scene  II. — The  fair  [Kermess.'\  Brander,  Students, 
Soldiers  and  Citizens  discovered  at  a  tavern,  drinking 
and  singing. 

Grand  Chorus. 
Red  and  white  liquor,  coarse  or  fine, 
What  can  it  matter,  so  we  have  wine  f 
What  if  the  vintage  great  be  or  small, 
Your  jolly  toper  drink eth  of  ah. 

Brander. 
Student,  versed  in  every  barrel. 
Save  the  one  of  water  white, 
To  thy  glory,  to  thy  love 
Drink  away  to-night. 

Chorus. 
Young  girls,   ancient  castles,  they  are  all 

the  same; 
Old  towns,  dainty  maidens,   are  alike  our 

game ! 
For  the  hero,  brave  and  tender,  makes  of 

both  his  prey. 
Both  to  valor  must  surrender  and  a  ransom 

pay. 

Old  Men. 
Each  new  feast-day  brings  the  old  story, 
Danger  gone  by,  how  we  enjoy! 
While  to-day  each  hot-headed  boy 
Fights  for  to-day's  little  glory ! 
Let  me  but  sit  cosy  and  dry 
Under  the  trees  with  my  daughter 
And  while  raft  and  boat  travel  by 
Drink  to  the  folk  on  the  water. 

Girls. 
Only  look  how  they  do  eye  us, 
Yonder  fellows  gay! 
Howsoever  they  defy  us, 
Never  run  away. 

Students. 
How  those  merry  girls  do  eye  ue ! 
We  know  what  it  means — 
To  despise  us,  to  decoy  us. 
Like  so  many  queans. 

3Iatrons. 
Only  see  the  brazen  creatures 
With  the  men  at  play; 
Had  the  latter  choice  in  features. 
They  would  turn  this  way. 


16 


FAUST. 


Chorus. 
One  would  allure  them, 
They  look  so  gay, 
Only  see,  they  look  so  gay. 
If  it  give  you  pleasure 
You  may  rail  away. 
To  a  gentle  lover 
We  know  what  to  say, 
Tenderly  moreover, 
Take  it  as  ye  may. 
If  you  secure  them 
What  worth  are  they  f 
What  a  display! 
Boldness  without  measure 
Is  the  mode  to-day, 
AU  of  us  disgracing 
By  your  vain  display, 
At  a  word  embracing 
People  such  as  they. 

Old  Men. 
Come  here!  come  here! 
Set  down  and  drink  a  drop,  I  say, 
And  drink  a  drop  by  the  way; 
My  wife  is  scolding  aw^ay, 
It  is  her  daily  labor. 

Students. 
No  joUy  rover  need  fear  a  "nay," 
Never  jolly  rover  need  fear  a  "nay." 
Take  me  for  thy  lover. 
Pretty  one,  I  pray ; 
Never  joUy  rover 
Need  fear  a  nay. 

Drinkers. 
Long  live  the  wine ! 
Red  or  white  licjuor,  coarse  or  fine,  etc. 
Long  live  the  soldier, 
The  soldier  gay ! 
Be  it  ancient  city. 
Be  it  maiden  pretty. 
Both  must  fall  our  prey. 
Comrades,  to  your  armors! 
If  the  silly  charmers 
Will  })rovoke  a  fray. 
If  they  meet  disasters 
Ere  they  own  tlicir  masters. 
Whose  to  blame  but  they? 

l^Enter  Valentine,  arranf/inff  a  medal  round  his  neck, 
followed  1)1/  Kiiehel.  ] 


Valentine. 
Dear  gift  of  my  sister. 
Made  more  holy  by  her  prayer, 
However  great  the  danger. 
There's  naught  shall  do  me  harm, 
Protected  by  this  charm. 


Ah! 


Brander. 
Valentine   here !     it   is 


Valentine. 
A  parting  cup,  my  friend. 
If  we  ne'er  drink  another! 


time  to  be 
marching. 


Brander. 
Why  60  dullf     Thou   a   soldier   and   half 

afraid  to  go? 

Valentine. 
I  am  grave  ;  for  behind  me 
I  leave,  alone  and  young, 
My  sister  Margarita. 

Siebel. 
I  shall  be  always  near  her. 
To  guard  her  like  a  brother  in  thy  stead! 

Valentine. 
Thine  hand! 

Siehcl. 
Be  sure  I  wiU  not  fail. 

Chorus. 
We'll  watch  o'er  her  too! 

Brander. 

Have  done,  my  hearts! 

Enough  of  melancholy. 

Come  what  come  may. 

Let  the  soldier  be  jolly ! 

Some  wine,  and  let  some  hero  brave 

Tune  up  forthwith  a  merry  stave! 

Chorus. 
Some  wine  !  and  let  some  hero  brave 
Tune  up  forthwith  some  merry  stave. 

Brander. 
A  rat,  who  was  born  a  coward. 
And  was  ugly  too, 
Once  sat  in  the  abbot's  cellar, 
'Neath  a  barrel  new. 

A  cat —  l^Mephistopheles enters. J 


MseaaagmF'Tixmi 


FAUST. 


17 


Mephistopheles. 
Excuse  me. 

Brander. 
Eh? 

Mephistopheles. 

May  not  I,  though  a  stranger, 
Make  one  of  such  a  jovial  party? 

[  To  Brander.  ] 

Pray    sir,    conclude    the  canticle   so    well 

begun. 


And  I  wiU  sing,  when  you  have  ended,  a 

better  one. 
Brander. 

Let  us  have  it  at  once, 

Or  we  shall  call  you  boaster. 

Mephistopheles. 

If  you  must,  sirs,  you  shall; 
I  look  to  vou  for  chorus. 


SONG  OF  THE  GOLDEN  CALF. 


A  llerjiv     '^ 
maestoso.     ■*— 


^it-^^f^- 


ir- 


—  -I -^■*-    L,      ^-  •♦- 


■^^ 


ff  Turn. 

t: ^— fl* 


«i      -*--*--#-_        ••--*-■*-«     ••-*•■*-*        •*--^-*-*     ■*-■*■■*-«        ■•-•*•■*-« 


1  -t-^^  ^ 


=^^ 


-t 


C^-\j — ^-•-•-U— 5, ig ^^1= sj la — i ii Is Afg s fe-^^S w !s 1-€ m S — «-^-*. 

!-.K-g}»-#-»-l 1 '-] [ 1--  I '-\-  I H  I '-|-  1 •-•-•■ 


Meph. 


;^ 


Pili^^^l 


■^  ••-  ^ 


V — y — y- 


_t^_-. 


-9-?-i— f- 


1.  Calf    of       Gold ! aye     in     all    the  world, 

2.  Gold ! strongest  God  be  -  low ! 


To  your  might i-ness   they 
To  bia  teu^ple  o  -  ver 


fct: 


* 


U- 


^4^— K IE ^9_0_J.^J:0 0 c^ 


:t^ 


18 


FAUST. 


prof 
flow 


fer, 


Incense     at    your  fane  they   of    - 
Crowds  be-fore    his    vile  shape  bow    - 


:l2=: 


oz « — »—0 — *-i:, ,_• *-!-# 


7-^-r-^-7-7— I 


"t^- 


^  -#--     ■•- 


♦•  :^    -«• 


ggiES[ii|s|gEE^gi^^g^=iP^j^^: 


:i=W=5 


a«- 


fer,       From  end  to     end     of  all      the  world, 
ing,      The  monster  dares   in-snlt     the  skies, 


And  in 

With        cou  - 


'^l^:=:^i:i-^l-^^^ 


VI' 


55»f 


■ti: 


:EE 


i£ES=M^ 


^^fe 


.0 « -0 u — H# — -, p-« . « . 


hon  -   or     of         the       1    -     dol,  Kings    and    peo  -   pies    eve   -   ly  -  where, 
tempt,  he   views      a  -  round    him   All        the   vaunt  -  ed      hu   -   man   race. 


To         the 

As        they 


^K=i 


z.t2 ^^_ , — V — r— r r=^-| i — I r— i — r— r r— 


-2-5#»— s^** 


iSS: 


^lib: 


—7 r- f-^ 3 3^ 1 

-hs h — ri * — S*-^i y — : 


— ^. 


sonnd     of    jing  -   ling  coins,  Dance    with    zeal,       in      fes   -    tive     cir      -      -      cle, 

strive      in      ab    -    ject     toil,  As,        with    souls      de  -  based  they     cir      -      -      cle. 


:b— ^: 


-B55 


]}' — — '^^^""^ ^^23 1 — ^^^^ ^21^3 — p— ""^"^^  ^       ~N p  ^^^^ ^    ly ^ ^^ 


:8r^r;ii^-?-..; 


S3Ef I'JEE:'|= -SlfrEpEc^t, 


FAUST. 


19 


Round 
Round 


bout 
bout 


the 
the 


':^k.'EE?EEi^E^=^lEPAf_^ 


-^-sg#-»-#^-»-s  »-^  •-n-^a* --.• --.#-a-»^*T»- 


ped 
ped 

-4 


tei= 


-  es    -    tal, 

-  es    -     tal,    . 


l3#.-i 


-.5*- 


Round 


bout 


the 


ped 


es  -  tal, . 


-^9-fiA 


H.'.'.t:f: 


'-s-#-i-#-i-*-^#-i-sB»-s-*-«-»-i-*---*-3-»-i — iS*-B-»-s.-*-a-»-5-*-a-#-i-a---i 


:=t— ?— ^ 


^li^3EEi 


, — 3_[i ^ — |i____y_q_ji . 


»=M^: 


EjlE^I 


Sa     -    tan,     he         con-ducts     the      ball, 


con  -  ducts   the 


-_- — K — T—T — r— iH* — •— i^* — •—- li* — '-^^ — •—- 1-» — -#1*1-* — • 

s^^.u_a z c «_i — «— J-^ 2 ^ — m — I — •_^_i — ^ — i — _# — ^ — •— j-^ — 2 — •.!: — s_T_/t 


ball. 


:zfc 


:t:==z=p=q=t: 


— ^. — * — '-^i — \/- 


Sa     -    tan      he        con-ducts      the        ball. 


con  -  ducts  the 


H:zrz% 


: W — 2 — m^ — 1--^-| ~-~m  ~^ — Ai 1 ^ — 5 — ^  — ■ ^ — Sr~~«i  '~~     "^     ^     tttf  ~1  ■ —       ^     ^      ai  6iTZ         ^~ 


-fe 


a— .lit «_ 


-#—»#- 


, , , ,-, , ' ^-*~ » « *— (•- 

I I « p zzz* j_« I c « 1 « j_« 2 #__g5_5— 5- 


n, — 9 — 1^_ 


20 


FAUST. 


iiSJ^II^lE 


7u    ^      bjt 


:iyz=±=-l5z±t: 


— f=^= 


ball,  Sa  -  +an,      he      con-ducts  the      ball.    Old  Sa    -    tan,    he      conducts  the  ball,        He     con- 

Chortis.     Teiiori. 


Sa  -  tan,      he      con-ducts  the     ball.    Old  Sa   -  tan,   he      conducts  the  ball,       He     con- 


p=^E|z£^^:^5E3^E^^^EEp=^Et^^^EEEifEgEEE*3p'EE. 


Sa  -  tan,      he      con-ducts  the      ball,    Old  Sa   -    tan.    he      conducts  the  ball.        He     con- 


brlz: 


0'0^ 


#*#, 


»»0, 


0*0, 


-0*0, 


ff      ^'"''*-  U  fa.       ,;.•-«■   ^ 


I2jt 


3*  r-_  f-J 

r  y  ri  g  •»  • 


2o(  rer*e. 


♦  ^j^ 


I^l^iir?^^ 


jl:2=:r: 


ducts   the  ball !  con  -  ducts  the  ball,     the     ball ! conducts  the  ball !  Calf  of 


?»=r »-=|-p— P#— * 0~\f 


.(Zs.- 


^-^'Z 


-^-^0 


ducts  the  ball!  con -ducts  the  ball,     the     ball! conducts  tbe  ball ! 


i^s 


-12: 


-y-- 


i;,---   - 


i^ 


5E^|ig^==^SSg^^ai||^=j 


ducts   the  ball !  con  -  ducts  the  ball,     the     ball ! conducts  the  ball ! 


0.~  ,  ^TT «_#ll_L_.  tr 0 , 


^ u  ^ --        -  - — - _Ljtf-^ 


Chorus. 
An  odd  song,  on  my  life ! 


Valentine. 
What  a  strange,  mocking  comrade  ! 


FAUST. 


21 


Brander. 
Your  throat  must  now  be  dry  ; 
Will  you  not  drink  a  glass? 

Mcph  Istopheles. 

With  all  my  heart  !  [  To  Brander.  ] 

Ah !  here's  something  it  grieves  me  to  see ; 
Here's  a  line  of  ill  fortune ! 

Brander. 
Who  cares  f 

Mcphistopheles. 
Not  you  for  dying. 
Say  your  prayers  at  the  siege, 
Ere  you  mount  on  the  wall! 

Sichel 
You  pretend  to  tell  fortunes  ? 
MephistopJieles. 

[  Taking  Siebel's  hand.  ] 

Enough  to  tell  you  yours. 
And  remember  it's  this : 
Every  flow'r  that  you  touch, 
Every  beauty  you  dote  on, 
Shall  rot  and  shall  wither. 

Siebel. 
Ah! 

Mcphistopheles. 
Look  to  your  nosegays  for  Margarita. 

Valentine. 
My  sister  !  how  dare  you  speak  her  name  ? 

Mcph  istopficJes. 
Take  you  care,  my  captain, 
A  sword  that  I  know  of  is  waiting  for  you. 

ISnatrhiii;/  thr  t/lass  from  Brander.] 

I  drink  to  you  all— Pah !   what    rubbishy 

wine. 
Let  me  see  if  I  cannot  iind  you  better ! 

\_Strikhvj  the  head  of  Bacrhu.t  at  the  .side  of  the  inn.] 

What  ho,  Bacchus  !  up  there !  some  liquors ! 
Come  while  you  can. 

And  each  one  drinlc  the  wine  he  likes  best. 
While  I  propose  the  health  of  the  dearest 

of  all  dears, 
Our  Margarita. 

Valentine. 
Enough ! 

Bridle  thy  tongue,   or  thou    diest  by   my 

hand! 


Mephistopheles. 

Come  on!  l Both  draw.] 

Chorus. 
Come  on ! 

Mcphistopheles.         [  MorHng.  ] 
So  soon  afraid,  who  so  lately  defied  me? 

Valentine. 
My  sword!    O  disgrace!    In  my  hand  is 

powerless. 

Siehcl,  Valentine,  Brander  and  Chorus. 

'Gainst  the  pow'rs  of  evil  our  arms  assailing, 
Strongest  earthly  might  must  be  unavailing. 

Valentine. 
But  know  thou  art  powerless  to  liarm  us. 
Look  hither!  look  hither! 
Whilst  this  blest  sign  we  wear 
Thou  canst  not  harm  us. 

Mephistopheles. 
We  may  meet  again,  my  fine  friends; 

But  now,  good-bye.  [Enter  Faust.] 


Is  aught  amiss? 


Faust. 


Mcph  istopheles. 
Naught ! 

I  am  here  at  your  thought. 
What  is  your  wiU  with  me  ? 
How  first  shall  I  please  you? 

Faust. 
Let  me  see  her,  that  darling  child, 
Whom  I  saw  in  a  dream ; 
Or  was  she  only  a  vision? 

Mcph  istopJieles. 
Not  so!  but  you  may  find  it 
Not  easy  to  win  her, 
Task  for  no  pious  beginner. 

Faust. 
What  matter,  so  I  win? 
Come,  let  me  only  see  her. 
Or  I  shall  deem  thy  promise  but  a  tale 

Mtphistophch'S. 
As  you  will!  I'm  your  slave  on  earth, 
Ordained  to  do  your  pleasure! 


22 


FAUST. 


Ere  long  this  dainty  treasure, 
Too  pure  for  such  a  sinner, 
Shall  be  here. 


While  the  dancers  go  so  gaily  by 
You  may  your  fortune  try, 
And  methinks,  prevail! 


TuUL 


r     I        \      \        r     I        ■      I      r     !      T     i      T      r     r     I      t     r     r' 


Con  8va  ad  lib. 


__ ^ — ^,^* 


_zC « S ?— F« W ^ F^ s__«_L« # — m — C L_; r_«_-_t^ , — !i_«_#_-__i — i r_«- 

\  tf    i» 1 s t» s__» tp « « — ^« « — » — [;«H ^^_!i_^#_L_^_!ll. — f-^«  -!    I    —L, 


P'ij|-»— I— ^-^^^ — b'-^; 


:p— izusz: 


r  ' — r»^ — , — I     ,     '^r'-', — i     I     ,- — *~rf~i — , — ,     :     ,*'- 


-•-n*-i — I- 


ff— --'—'— ^*-*-hi-»-* ■ — ^  -'— ' — ' — '■ — ' — '-)-! — r-l — — ^t— r*-*-» — ' \ ■ — ■  hi *-h« — ■■ — -ri — '— '-1 


9' 


4— I—'    I    I    r 


^A  z: —JL.  ^jlzlm.^ 


i«Jtzu=^^t^^ 


Es^gf^-zii^ggi-rfet^^gi; 


■*■        rr 


^   ^'"'''  Soprani.  , 

)=;z:i^|^-b€zz--*zib^,^*z=gzib^z:izz*=h »^-[:zz:g=g-L-g=:^ii^-bg:-=zz:±;z=g:: 

Light      as    air        at      ear   -    ly  morn  -  ing,  Our  feet  they  tiy    o  -  ver  the  grouud.         To   the 

n   f   Tenort. 

^  -        I      \—r^ »_rszz|iz1z=rgrz»— zizrziizjzziipz^zz^izrqiilTr 

-y^ — >— hh  F~r  —         ~  r — ! — *~r*~* — r-rzr  j — '---  - 


*«^S 


.0—1—0 

1 — t — r — t 
r         r~c 


Light      as    air        at      ear  -    ]y   morn  -  iug, 
f  Bassi. 


Our  feet  they  fly    o  -  ver  the  ground,  To   the 


±- d:r__rd 


—      —  -(52-  -•-    ■♦• 


m^" 


P-44 # — 0 — , 0 — 0 — , 0—0 — , 0 — 0 — I f— £— rz — i — g— r-i^g*-#*-| — 


'-H  •  r-h-- 


r-- 


rt.Mri!-,..,-..^»»..-w».- .^~- .^ 


FAUST. 


23 


;l^3^ 


ds: 


»~r?^ m—riC)- 


jEEEiPPEES 


—\-0 ^0  ^\-s> 0—^- 


mu  -  sic's  mer  -  ry  sound,  To        the  mu  -   sic's  luer  -   ry  sound,    Light      as    air        at 


mu   -  sic's  mer  -  ry  sound,  To        the   mu  -  sic's  mer  -   ry  sound,   Light      as    air        at 


QTg ^ — T— *— I r'5^ — -1-, r- 


=p;=-,r^F.=|=^_= 


i=-: 


-^ti— »~r  '  ^F»— ^— » — F»— -- 


^gg^^^ 


f- 


i^.S 1 — 0  —  0 — • — 0 — — ; — • — 0 — — \-'Mi — J — !»—!»- \ — !s — b i 0  —  0 — 0 — 0— 

^-ffjf— -I p        I  # 1 1 M 1 i A l-^P • Y- ^ F ■—* * 1-0 r- ] k , , 


-ft— *— »-_-H-Fzi- 


-1-,-J-. 


•_L__* « — Lg 0_^0 L^.« 


fe=SEt^; 


:|i^*±*=#z;b?2z:i^±e:A= 
I  I  II 

ear  -    ly  morn  -  ing,  Our  feet  they  fly   o  -  ver  the  groimd,         To   the  mu-sic's  merry  sound. 


if 


—i~\-s> •— F>— > — —U — • — ■- — 

"»~r| 1 — hit— A— »— pi — I — 0— 


■- 1— H — I i- 

— i 1 1- 


■»-b — 
zztczz 


ear  -    ly  morn  -  ing,  Our  feet  they  fly   o  -  ver  the  ground,  To   the  mu-sic's   meny  sound. 


0-k-0- 
3zc=p=c===tp: 


=#ii-#->— •-pi=F— f£#-Fi-F^ 


t=pFi|^*:^-q|^r^r^»:i:_-*vr^i,-_r^^=fq 

_:pr?ttzz*3^!iilit:ptrEZjErppii^rrtihizt?d 


-0-0-1 — 0-0 — ■ — 0-0-, — 0-0- 


t)*Srr — 0— •—[—.— 0  —  0— \ 0-0— \ •  — • \-^-^-^ F— *!s-     » •-#-—;-#-» \-^*-*-\ 0-0— \ 


24 


FAUST. 


To      the  mu  -  sic's  mer  -  ry  sound.  For  the   flut«      and        gay  -  er      vi     -    ol,   Are  to 

P 


m^im^i 


To      the  mu  -  sic's  mer  -  ry  sound.  For  the   flute      and        gay  -  er      vi     -     ol,    Axe  to  - 

P 


.# m 


mi^i^^i-t^=!^^^\^=f^;^i=^l^i~^^^^iEiEt 


iiES^IIj 


g^gEBg=psagiE3^ 


—9-^-1 — 


=— Ji rfs— i-l •— • — I •— #  — I  «5^i ;* 0 1 #— • — r- # • 1 • • — I «*  — »• — 1 


— i-^-. 


day      in  cheer  -  ful  tri     -    al,         Are   to  -  day        in  cheerful    tri  •  al,  To  make    the  dance  go 


Z Zj:^ -j_3L L — S i*S_C[I , L, 9-^    <■«■    LLZ— I , 1 1 U ► 

day      in  cheer  -  ful   tri    -    al,         Are   to  -  day        in  cheerful    tri  -  ul.  To  make     the  dance  go 

fSri — -— ir'-ciLll — »— I — : *— f — : » — r»— y— *~r r i — r'— •— •— r — ^ — •-C"" ^'"a 

B.|u=::^=iir^±:t=£--b:^ — i — t-jzi — T-[^~i-'^-Vir^i — i      PF=P=F=Pr=i=^^— l=F^i 


^^t.i^m'!l 


^—l-r»- 


&^^^^^-^5^mMt^^^^^:^^^l 


iimitr»mumiim-rmtirrjMam»tammimiaumimmm 


■^iWWil  illHitl  I'l  I 


FAUST. 


25 


:-pi 


wif — « — a — s — F »- ii — ^ •-(h s F^j — ^ #-|-! — is--^— F-'— » ',~f' — a ':— 


round. 


r^=^-?-?- 


For  the  flute     and       gay  -  er     vi  -  ol,  Axe       to  -  day       in  cheer  •  ful 
— -^ — 0-1 


_»^T:i^ 


-»-=-#-  F*—w, — ^-F« — s— *—  F*— is — •- 

n:=^C| ^_!x ^-C ^ 


round. 


For  the  flute     and       gay  -  er     vi  -  ol,  Are       to  -  day       in  cheer  -  ful 


m^. 


-?-^ 


^-fc-t 


^^ 


^*=^ 


^ — f — r~l — '< r~i — 


-?=:E 


^tfl 


^^a 0 — 9 , , 0 0 , 0 — 0 — , 0 0 1 0-0    . —  -0     -»— I ^--0      — !-#-»< 


t        .  do. 


£ 


eEe?e=^ 


.0 — ^ — 0. 


:^_^ 


tri    -    al,  Are  to  -  day         in         cheerful     tri-al,  To  make       the  dance    go  round. 

arr 1 ^ 1 ^^^ 0-1 — -I ^^ 0~t 1 

*i^--;^ tt—bii -^-f'\-r*—ys-f-Ff -^f-^  'f—f—f— 

~^ — 5^        y—h'^j""*"^ — hn~ — T — I — H — J  »~tzLi "tz:ztzzt~ 


-^— F*- 


J » fp    V 1 F* ^ ^— 

tri    -   al,  Are  to  -  day        in         cheerful     tri  -  al,  To  make      the  dance    go  round. 


-__.+t 0 0 0 0 0 0 -4 0 0 


•-. : : 


#«n# 


-?t|=ttt]*:Et.ErEpE? 


■.-''mZ»- 


cres 

-0 0- 


0—-'0^ 

'00 


0  —  0 


-1— t— f— K-f— f 


Z-    Z.0.0~0Z-  ~ 


-n-^' 


-^—ji ^-^ 0 0 0—0 1 0 0 r- 0—0 1 00 00 1 0 

5''"'tt *— *— F# — i 1 — \ — I — I — F* — 1 1 — ' — I — F*— — f—\ — 


^0  ' 

•■—-—#- 

w' — I— 


«-»-FS=¥^y=7-^ 
I — i — Ly eziD 


26 


FAUST. 


Meph.   (to  Faust.) 


m 


^^rjt-». 


-^?->-?-^-?-[-'--^-t^-?-?-^  -*  -f — *— *- 


l-i^-V 1»< s/- 


-\i> — b— H 


How  their  dear  eyes  are     beam  -  ing !  Go       npar  and    choose, 


-#•-#■  -#■  • 

/^/^     - — 'pp  ^ 

svt=iz= — -r* ^1 r"^—* — * — r* — ^^* Ttf •  —' 1 

L — tz^ tp — »_*_ti? 1 ti — H — t: dzt: -^  I 


42- 


Faust. 


^^^m^^^m 


Ev'ry  flow'r     ou  -  ly    waits  on  the         ^     to       smile.  Cease     to   speak  for  a  little 


1 — gf ^^^ Ds_3 — ^.^ a— ^-j-p    *^ I zr4. —  ::f.-'^^ ^ 

— tf—^- 5 i  r         5 L- tr.l^^?^:::lv ts u tat t 5 _, 


5-^- 


-t?tt- 


■«=?: 


-s—%^ •—r-B-     ,  I        r-+ 

I H F — p-i . a- Er.^'-; 


while,  And  leave  me       a    -    lone    \^-ith    mj'       dream 


lUg. 


d'i r r ^3* * PC* « FS*    -*-  -• — p? — ^ — ^.,— p-i— •^^3f__3 


SlEBEL. 


'till    she      goes  by  whom  I 


Wearv    T    wail 


cA  .}k L'»*">*~r~1'»*'>*~i — ••■••n »—»-\ * — 0-1 0-0-\ 0—0-\—w*-w*—\ — •f-*'~ri — »• — »• 


FAUST. 


27 


f:^^^^^^^^. 


Chorus.    Soprani,    to  Sikbkl. 


love       so     vain      -      ly, 


Why  will  you  be 


•♦—  -i«-  . 


iE^-^iiiii 


jfiM*: 


faqii|?z=i^-: 


^•*T>f 1 1 1 0 1 1 h-l 1 1 f-» 1 i \—  I 1 \-m 1 \ 1—] ! 


SlEBBL. 


y=3^ 


:e: 


v-^ 


=i 


'iZZ 


mmm 


shy?  Must  we  ask     you     plain     -      ly. 


No,  no, 


no,  no, 


some  one 


^1=^3^^ 


n- 


nt; 


^^'— r-^-T ^t— '-t-T T-r-r  r=^F=f 


do 

-0 — • 


:z±=p: 


more  handsome,  try 


:rd=:=:^- 


feE^-EEfS^ai.EEEgEEBEfgE3^g^aE3 


'li — 0 * — t 


-H — Pa — ij — 0- 


Light       as     air        at       ear     -     ly     morn  -  ing. 


Our 


't- 


z=:  :=^=:  iig:-?— e=|:r-?-p=^g^z:— 


'X 


■«>- 


te^E: 


■?-?-i 


Light        as    air         at     ear 


ly     morn  -  ing, 

«> 0 — r 


Our 


==lE?E:^F'E^EE5EEE|£E=fEl^=^EE.= 


i^        'im       —      ■^      ■^'        *^#  '^ 


!f=?t==Ei£EEJ=EJ=^=SzIi?=r^ 


:EE3 


'^lis m — It' !•— Fr — ii — »e-Ti^— i- T-f-ir*— * — F"!— •— •— F::: • — •— -F-f— »— • — F — '— • 


28 


FAUST. 


« 5 — L, — g — ,_L^_l i_J J-L* *-^'-<2 W-^^- — ^0 #-L, ff#— 3 

feet  they  fly   o  -  ver  tlie  ground.  To      the  mu  -  sic's   mer  -  ry  sound,  To     the  mu  -   sic's 


3: 


SJi— r— # 1 1 1 1 

-It     [       I  —J—  -9—9—9 


1 ■— =— -]-p#— s— • p— i — H-l-fS*- 

-g~v r#— r~#-r| — T   [■■    hg 9- 


-9-yg-0-^0 — ji — 0 — 

r iiibi:^ — 1=: 


§3|f=t=r: 


feet  they  fly    o  -  ver  the  ground, 
0-0-0 ■^-_ 


To      the  ma  -  sic"s   mer  -  ry  sound,  To     the  niu  -   sic's 


— 0 1 1 |-r<? ; 1 ■ (-# 0 — I ,  &— 


g£g=ez:E==E!=t::z±zbe=i|n=ti=3=t=c£EzEgz:EEEz:Er:zEEEzb*    i     I     Jif_4__Lj=, — p^ 


mer -ry  sound,  For  the  flute  and        gay-er      vi  -  ol.     Are        to    day  in  cheer  -  ful 


ttr  ^ ^   ^ 


r 

mer  -  ry  sound,  lor   the  flute  and        gay  -  er      vi  -  ol.     Are        to    day  in   cheer  -    ful 


F^?=r=^EE^E; 


:p=z=EE: 


\-m w  —  I — w — I 


»— r-| .» — rrl »■ 


i 


iM^ 


pp 


z3^-^tt — ^-*~*— r^ -f-r — I H-r-F^h*— 1 — 1 — H— -r-  p— r*-Ji — zr~vr 


-F:t= 


*»-yf — r-\-9»-9'— 


m • 

4 V 


i 


FAUST. 


29 


tri    -    al, 


Are  to  -  day       in ... .  cheerful   tri  -  al,  To  make     the  dance   go  round. 


— V- 

tri 


EEg 


;EEEEES-:3EEa=EEE' 


-#— ^— •— |-#-^^-#-i-^F# — 0 — 0 — F-^— «- 


al,         Are  to  -  day       in . 


-r 

cheerful   tri  -  al,  To  make     the  dance  go  round. 


WM^^^:^^^m^^^^^^^^^^^='^ 


ft^- 


i^a=i 


S^t — ir*»-»»— i: — tzzt^rrzrit—l—r—l — » — r-— g— g— rT*f ~»*T T*i*~**~l  S " f"^"! 11 

^i|a=i|=fri=:trfzi;p_:H=»=»=t^-:»:z:h-»zz»zitJi:i==s_M_fe_*_h5±^*_ 

_^fce^t-[=zFp5E=E=:Et-E=E=fcEEzi:E=::fcEEF-E=:it==+=E*i=t=t=Ep£^ 


'Tis  she!  iny  own  one! 

ilf (?p/i  istopheles. 
Thine  own  one?     Hast  thou  no  tongue! 

Siehel. 
Margarita ! 

Mephistopheles. 
Your  servant! 

Siehel. 
Wicked  man!     Not  yet  gone? 

Mephisto])}ieles. 
It  seems  not,  you  see, 
Since  again  Ave  have  met. 
Not  gone  yet!  not  gone  yet! 

\_Margarita  crosses  the  stageJ] 

Faust. 
High-born  and  lovely  maid, 
Forgive  my  humble  duty. 
Let  me  be  your  -srilling  slave. 
Attend  you  home,  to-day. 

Margarita. 
No,  my  lord,  not  a  lady  am  I, 
Nor  yet  a  beauty  | 
And  do  not  need  an  arm, 
To  help  me  on  my  way! 

Faust. 


By  my  youth!  what  a  charm! 


\_Gazing  after  her.  ] 


She  knows  not  of  her  beauty. 
Oh !  darling  child,  I  love  thee. 

Siehel. 
She  has  gone  homeward. 

Mephistopheles.         ito  Fauut.] 
How  fare  you? 

Faust. 
But  ill.      She  would  not  hear  me. 

Mephistopheles.  ILaughing.] 

Not  hear?     What  wall  you  do? 
It  would  seem,  master  mine,  ( 

I  must  teach  you  to  woo. 

Chorus  of  Young  Girls. 
What  is  this?     Margarita, 
Who  would  not  let  a  young 
And  handsome  lord  esquire  her! 


agam!   go  on  again 


Again! 

Light  as  air,  at  early  morning, 
Our  feet  fly  over  the  ground 
To  the  music's  merry  sound. 

Oh!  pleasure  enchanting! 

Till  breath  be  gone! 
All  glowing  and  panting. 

Let  us  dance  on! 
The  earth  it  is  reeling. 

The  bliss  of  a  trance 
Wildly  are  we  feeling. 

Long  live  the  dance ! 


30 


FAUST. 


5  l*i  Bl  L         ACT  11. 


\_Gwtden  of  Margarita's  house. — Enter  Siebel."] 
Allegretto  agitato. 


p 


:^A  ' 


g>^g=^'^=^-— p-^-?-r Jzpzi^'z-^^=t-:f^^'-=^ 


-0 ^— ? 


g0-g0-,0-g0-g0- 

Cres 


;=t 


^-0»-W0-W»-W»-9» 


—J — i — \ — I — ; — i-^ 


r^-±.-^^— 


:d=j=3i2=z: 


dim. 


PP 


— i— ?^i=z=ji=zz.-z=p=f!=:      tzEzz'^p' — tzt=:*=^~P-P: 


*— #- 


-=j=^=q=^ 


SlBBEL. 


•-^ — #- 


In  the  language  of     love, 


O      gen 


tie   flow    -  ers,  Say  to  her    I . . . .    a 


-#■-#--#--#■-«--«■  -•■-«•-••-•■-«■  -w  -r  -r  -r  -r  -•■■«■-«■-«•-•■     -•--•-■••-•■-•--«■ 


Z-JZZZIT- 


-?-j ?- 


::1=z^q: 


-•-T- 


?=E?z;f=f=:r-*-f=Eti=i: 


-^ 7— h'— ;^— p— '— *— ^— hi 0 — n- 

— —\-9—\D—'9—\i>—'^—\i^—V- p 


— rifv:^*!==:;;=i? 


-1 a V r- rli p 


dore         her  !  Say  she's  my  love   and  trea    -    sure,         Say  that  she  of     my  heart,         of        my 


-^zl — '■ — i— i]— j— bH-zj- 

-#■-#■-«■•♦--#■       -0-    -0-    -0-    -0-    -0-    -0-  m     w     w     w     m 

cres. 


^4=^ 


^=^e=£^^^^=?=^^=^^^=^S=^'E 


FAUST. 


31 


-•-— 


\-r— K ^ ^ h; g [-#— i- #— ^^ \—\-0—i * -^^— I 


life,  is        the    joy ! And    as  -  sure  her  my    love. ...  is      strong. . . .    and 


.00  .^  .00  .00  .00  .00      ■§■  1        •  . 


-^^ 


m^^. 


7-?— ?- 


pure, 


:f=tz=Ls=:U=^=ti: 


Tell  my    hopes      and     fears, 


That  her    pres   -  ence 


Ores 


§1=2=^3: 


i^J 


-?- 


T^ 


?— 


?=z?^ 


-^ — h- 


:7— J 


-*— F#-* 


-->,- 


i 


en    -    dears. 


Each  bright  hour      for     me : 


So     plead, sweet  flow  -  ers. 


i:J~: 


cen 


■09-00-00-^0 — « — 0 — 0 — 0  —  *— L__*_a_#_«^*_r«_«_*|_s ^0-0-0-0 !-»■ 

5--»--5-     -*■     -••     -*■     -*•     -*■     ■*■         -•■-•--••-•■-••     -»--»--»•■*  -0--0--0—9- 


dim. 


'^^^^^==^^^'=^^=^:^^^i^J^^^^-3iE3^ 


\_Siehel  (jathers  a  flower. '\ 

What,  faded?     Ah!  me! 

Thus  the  bold,  evil  sorcerer  foretold  at  the 

fair : 
I  may  not  touch  a  blooming  flower 
But  it  shall  wither. 

But  my  hand  in  holy  water  I'll  bathe — 
See,  now,  will  they  wither? 
Here,  to  pray,  comes  daily 
The  sweet,  gentle  maid.     Now  venture. 


How,  are  they  faded?  No! 
Satan,  thy  spell  hath  faded. 
Thus  every  fraud  must  fail;  speak,  then, 

for  me. 
Tell  her,  sweet  flowers,  I  love  her. 
Bright  are  the  heavens  above  her, 
Bright  is  the  earth  for  me, 
When  her  loved  form  I  see. 
Oh!   speak,  then,  for  me 
What  yet  I  never  have  told  her — 


32 


FAUST. 


Say  that  my  arms  would  enfold  her; 

Guarding  from  every  ill, 

And  loving  her  still, 

Thus  speak,  sweet  flowers,  for  me. 


lExit  Siehel.'\ 


\_Enter  Faust  and  Mephistopheles.'] 

Faust. 


Is  it  here? 

MephistopJieles. 
^Tis  the  place. 

Fausf. 
Thou  art  looking  around. 

MephistopJieles. 
For  Siebel,  your  rival. 


My  rival! 


Faust. 


3Iephistophelcs. 


Hush!    here  he  comes!  ISiebel  re-entei-s.] 

OieuCl.    \_Kot  perceii'inij  them.] 

Now,  my  nosegay  is  perfect,  indeed. 

MephistopJieles. 
Indeed! 

Siebel. 
No  danger! 

For  I  will  warn  her  solemnly 
Against  the  stranger. 
And  tell  her  all  I  hope, 
And  all  I  could  dare. 

Were  she  wronged,   how  my  arm  should 

avenge  her! 

Mcph  istophclcs. 

Brave  avenger!     Wait  for  me  here,  my 

dear  friend! 
Since  our  flowers  are  laid  out 
To  tempt  the  pretty  maiden, 
My  gift  I  will  venture  to  try — 
Something,  I  ween,  a  little  rarer. 
To  adorn  a  too-willing  wearer! 


Faust. 
Be  thou  gone! 

Mephistopheles. 
I  obey — but  will  return  anon. 

Faust. 

What  is  it  that  charms  me, 

And  with  passion  true  and  tender  warms  me? 

0  Margarita!     Thy  unworthy  slave  am  I! 
All  hail,  thou  dwelling  pure  and  lowly! 
Home  of  an  angel  fair  and  holy, 

All  mortal  fair  excelling! 

What  wealth  is  here,  what  wealth  out-bid- 
ding gold. 

Of  peace  and  love,  and  innocence  untold! 

Bounteous  Nature! 

'Twas  here  by  day  thy  love  was  taught  her, 

Here  thou  didst  with  care  overshadow  thy 

daughter 

In  her  di'eam  of  the  night! 

Here,  waving  tree  and  flower 

Made  her  an  Eden-bower 

Of  beauty  and  delight 

For  one  whose  very  birth 

Brought  Heaven  to  our  Earth, 

'Twas  here! 

All  hail,  thou  dwelling  pure  and  lowly,  etc. 

Mephistopheles. 

Attention!  here  she  comes! 

If  yonder  flowers  this  casket  do  outshine. 

Never  will  I  trust  a  little  more. 

Faust. 
Away !  I  will  not  bring  shame  to  her  door. 

Mephistopheles. 

What!  retreat.  Doctor?  fie! 

On  the  door's  quiet  threshold,  my  talisman 

ILai/in;/  down  the  casket.']  I  plaCG. 

Behold!  now  wait  and  hope!  ^Exeunt.] 

[^  Enter  Margarita.  ] 

Margarita. 

1  wish  1  coidd  but  know  who  was  he  that 

addressed  me; 
If  he  was  noble,  or,  at  least,  what  his  name  is? 


nmminiiiwntiMwn  miiiimiiiiiii"iiiiy 


FAUST. 


33 


Moderato  maestoso. 


-0 m-, > •- 


I 


Margarita. 


ii 


Once  there  was    a    king  in  Thu- le- 


nt IZZ:^  •  a  *. 


— iF-l~t.^^-?tt'^c^:===s^*^^1 


— ^„^. 


*'    i    **    m    "         *i\l        •*    "^    *i 

:«-"7-iTT-f-7-»7:h»z2ziziT- 


-i^f:!^: 


4--^—' 


pp  stacc. 


— I  — 

~0  — 


-^ — * 


:i=iJ*^t 


4'- 


-0 


=:cd 


Who  was  un  -  til  death    alway  faith 


ful, 


And      in        me  -  mo  -  ry     of      his    loved  one, 


s=:=N: 


-;==*"=:=i— Ji^^=-tSI=:J«=i__=IIti_l_•Izz=:J.z:l:«=:^t«^=5zz^^— 


-*^^ 


-*-? — 


(Stop-ping  and  speaking  to  herself. ) 


?0 — 0—0— 


Caused  a    cup    of   gold     to    be    made: 


His  manner  was  so  gen 


34 


FAUST. 


(Resuming  the  song. ) 


T 


1^=::^^=^= 
^  ^^«- 


* — vrw  — 9 


^11 


'^—^•- 


tle. 


"Twas  true     po  -  liteness ! 


Nev    -    er       treas      -      ure   orized      he       so 


^ 


^    '2^     5 


— — -_#«-«— #-| — » 


Sit; 


S 


r-^# 9—^—2- 


^ N- 


:i=bi 


l-=Z±=^=ir 


-K ^- 


dear    -    ly,      Nev      -      er    treas    -     -    ure  prized      he       so     dear    -    ly,      Nought     else  would 


^--=1 

3 


se 


--N s- 


use    on    fes-tive        days  And  always  when  he  drank  from  it,       His  eyes  with  tears  would  be  o'er- 

'fH *i5- 

P 


t:r>;^=^_^3^± 


flow 


izizszz         g-fc-=^g=:*— I— : — : — n 


^  E;r   - 


9-9-*^*  9 — V~9' 


FAUST. 


35 


-V 1 

1 ;-r-^ : ' 1 

~s    •>■ 

r"s — ^ — ' \ ^^: — *n 

^ " 

#—•-•-• .— 

-#      *   -   *      ' 

-         •         •            m           ^    >.         • 

^ . 1 ^-^— L ^^=r ^Z r ,_if^___-, 

"When  he      knew  that  death  was    near.        As     he    L\t     on  his  cold  couch. 

*                          6        --*-»~^^ 

p-> "^ is y— P ^-H— ^ N N -| 

f                  ^ 

,3_<_,*:f__ _=^^ 

t^;^   '   ^^-^' 

-^-^•-'-^■-^-^ 

t^^^-=-|ii-^ 

=^=E=a=El: 


-/ — ^ '- 


^i^.-=M—7^E^ 


smil    -    ing.  Once  more  he  raised ,  with  great  -  est      ef  -  fort.    To    bis     lips         the  gold  -  en 


■A K- 


-^ — i- 


-g-,*— f   #_^dl. e *» e Sk •!_ 


Ezt?^ 


(Stopping  and  speaking  to  herself.) 


t^m 


-A, Ss- 


* — 9 — 9 — *  I  -*^^~.-9 — * ^  — — r 


I  knew  not  what  to      sj\v.  —   Mv  tace  with  blushes    red  1 


1^  —  T\      Andante. 


=? 


i m — r^er —  


f        pp 


I. N 


9!^T?S?_t-_zEEE§ 


*^  -0- 
(Resuming/  the  song.) 


9« •- 


4z==i=: 


=1=:^ 


^* — 9-^i F- 


'^^^^^m 


And   then.  in  her  pniibe  and  her  hon  -  or:  And    when  he     to  hon  -  or    his 


lo.  Tempo. 


-r^- 


:i 


'^- 


.f. 


^-^5^fgg-^f^gf^;?z=^;g:g^iiz=j^ 


36 


FAUST. 


E^^E=gi?E?Eyi=g 


la    -    dy,        Drank  from  th'e  cup    the     last,   last         time, 


Soon 


-cz^- 


"-• i 

it        fell      from  his 


i 


•  — "^— f  i^-f— *— *-^=  i?_tf  i_|L- — 1 


rit.  "      "  p 


Pi^^i 


— =|-=px 


i 


tremb  -  ling      gi'asp.  And  gent  -  ly  passed  his  soul    a  -  way 


1^      -f9-       ■*- 


^F F*— — ' 1-' — ^-^-^-41 


:r-gi^J=:?-j^^_ 


'Tis  but  a  lord  who  has  so  brave  a  mien, 

So  tender  all  the  while 

No  more!  'tis  idle  dreaming, 

Dear  Valentine!  may  heaven  bless  thee 

And  ])rini:^  thee  home  again! 

I  am  loft  hero  so  lonely!      \_Srrhvj  the  f overs.'] 

Ah!  flowers  left  here,  no  doubt,  by  Siobel, 

poor,  faithful  boy! 
But  Avhat  is  this. 

And  by  whom  can  the  casket  have  been  left? 
I  dare  not  touch  it!  though  the  key  is  laid 

beside  it. 
What  is  within?  will  it  open? 
Why  not?  I  may  open,  at  least,  since  to  look 

will  harm  no  one. 

[  OpcDn  caslct.  ] 

Oh  heaven!  what  brilliant  gems. 
With  their  magical  glare  deceive  my  eyes ! 
Can  they  be  real?     Oh,  never  in  my  sleep 
Did  I  dream  of  aught  so  lovely! 

\_Puts  down  the  casket  and  Inccls  down  to  adorn  her- 
self uith  the  jeivels. ] 

If  I  dared  for  a  moment 

But  to  try  these  earrings,  so  splendid! 


And  here,  by  a  chance,  at  the  bottom  of 

the  casket,  is  a  glass! 
Who  could  resist  it  longer? 
Ah!  when,  in  the  crystal  clear,  my  face  I 

vicAv, 
I  cannot  think  that  this  is  I. 
Is  it  thou,  Margarita? 
Is  it  thou?  tell  me  quickly! 

[Puts  on  the  earrinf/s  and  looks  at  herself  in  the  glass.  ] 
No,  no!  it  is  not  I. 
No,  no!  not  I  thus  reflected, 
But  a  princess,  I  know! 
It  is  not  I!  it  is  not  I! 
Of  a  king  'tis  the  daughter,  whom  each 

one  saluteth, 
Wiien  they  met  her  in  the  way. 
Could  he  but  see  me, 
How  truly  demoiselle, 
How  truly  am  I  fair! 
Ah !  a  demoiselle,  most  truly,  and  he  could 

think  me  fair! 
I  am  a  demoiselle,  and  he  would  say  a  fair 

one! 
Shall  I  try  yet  another  jewel? 


I 


FAUST. 


37 


Let  me  see  the  effect  of  the  bracelet,  the 

necklace ! 
Ah!    how  fair! 
Ah!  methought  a  cold  hand  rested  on  my 

shoulder ! 

Ah!    ah!    ah!  \^ Enter  Martha.} 

Martha. 
Samts  above  and  angels! 
How  charmingly  you  look,  my  darling! 
Where  did  you  get  your  jewels  from? 

Margarita. 
Alas !  they  are  not  mine ;  I  just  found  them 

by  chance! 
Martha. 
They  are  yours !   yonder  jewels  are  yours, 
Nor  meant  for  any  other. 
Merely  a  gift  from  some  noble  who  humbly 

adores  you. 
My  dear  old  man  would  have  given  me  such 

if  he  could. 

[Enter  Faust  and  Mephistopkeles.'] 

Mephistopheles. 
I  speak  to  Madam  Schwerlein,  I  believe  f 

Martha. 
You  do,  sir. 

3Iephistopheles. 
The  fault  is  yours,  if  I  am  bold,  you  look 
so  kind. 

[  To  Faust.  ] 

Only  see  how  the  jewels  have  carried  the 
day. 

[  To  Martha.'\ 

I  have  news  for  your  ear. 

Martha. 
What  news! 

Mephistopheles. 
It  afflicts  me  thus  to  grieve  you! 
'Tis  news  that  comes  always  too  soon. 
Know  that  your  tender  husband 
Is  dead,  and  sends  you  his  blessing. 

3Iartha. 
All,  great  heaven! 

Margarita. 
What  is  this ! 

Mephistopheles. 
Naught ! 


Martha. 
Oh    distressing    news!     oh     distress    past 
expressing ! 

Margarita. 
Ah,  my  heart,  how  it  trembles! 
With  delight  past  expressing! 

Faust. 
What  joy  to  meet  her  eyes! 
Half  afraid,  half  caressing. 

Meph  istopheles. 
Know  that  your  tender  husband 
Is  dead,  and  sends  his  blessing. 

Martha. 
My  husband  has  sent  nothing  more? 

Mephistopheles. 
No!  blessings  are  cheap; 
And,  lest  you  die  of  your  grief. 
Seek  for  another,  richer, 
And  with  heart  more  tender. 

Faust.  [To  Mnrgarita.'l 

Why  lay  these  jewels  by? 

Margarita. 
They  are  far  to  grand  for  me. 
A  queen  might  properly  wear  them! 

Mephistopheles.        [To  Martha.'] 

Happy  will  be  the  man 

Whom  you  choose  for  your  next. 

I  trust  he  will  be  worthy. 

Martha. 
You  sigh!    For  why? 

Meph  istopheles. 
I  sigh  because  of  my  misfortunes. 

Faust. 
Lean  on  my  arm  for  a  wdiile. 

Margarita. 
I  pray  you,  I  pray  you,  excuse  me! 

Idephistopheles. 

[Offering  his  arm  to  Martha.'] 

Honor  me! 

Martha.  [Aside.] 

How  sweet  a  smile! 


38 


FAUST. 


Mephistopheles,  iAside.'] 

This  good  neighbor  hopes  to  steal  me. 
Yes!  she  hopes  to  steal  me. 

Marf/arlta. 
Pray  you,  sir,  excuse  me! 

Martha. 
Pray  you,  don't  leave  me. 

Faust. 
Pray  you,  forgive  me! 

3Iartha. 
And  so,  you  never  take  a  rest! 

Mephistopheles. 
Never  do.   Hard  on  a  man  like  me,  so  steady ! 
Not  a  friend !  not  a  home !  not  a  lady !  Ah ! 

Martha. 
That,  in  youth,  perhaps,  may  be  best, 
But  there's  naught  more  doleful  in  nature 
Than  is  an  old  unmarried  creature ! 

Mephistopheles. 
Such  a  creature,  old  and  alone, 
I  confess,  has  often  made  me  shiver. 

3Iartha. 
You  may  escape  the  chance  for  ever 
And  should  do  so  ere  you  turn  to  stone ! 

Faust.  [  To  Marganta.  ] 

But  why  are  you  lonely? 

Margarita. 
My  mother  is  gone; 
At  the  war  is  my  brother; 
One  dear  little  sister  1  had. 
But  the  darling,  too,  is  dead! 
The  angel!   the  angel! 
Loved  me,  and  loved  me  only; 
I  waited  on  her,  night  and  day. 
How  I  worked  for  her!  oh,  so  dearly! 
But  those  to  whom  we  cling  most  nearly 
Are  the  first  to  be  called  away. 
Sure  as  ever  morning  came. 
Came  her  call,  and  I  must  be  there! 
Since  she  could  speak,  slie  called  me  mother. 
Oh,  my  bird!   ne'er  for  another 
Half  so  truly  my  heart  will  care! 


Faust. 
If  a  second  angel,  made  by  heaven, 
Could  so  pure,  could  so  perfect  be,  • 
She  was  an  angel! 
An  angel  sister  to  thee. 
No,  no;   do  not  leave  me! 
^A  herefore  should  you  fear? 
Heaven!  strike  me  down,  if  I  deceive  you! 
For  why  should  you  fear  me  ? 

Margarita. 
You  laugh  at  me! 
Ah,  my  lord,  I  fear 
Words  like  yours  to  hear! 
While  they  murmur  near, 
I  must,  alas !   suspect  you. 
I  pray  you  to  leave  me. 
Yes!  I  must  not  hear  them, 
Should  they  yet  deceive  me! 

Martha. 
Sir!  you  do  not  hear, 
And  your  quiet  sneer 
Is  put  on  to  grieve  me. 
Sir,  you  do  not  hear! 
Oh!   that  sneer,  that  sneer, 
Is  put  on  to  grieve  me ! 
You  go  like  another! 
After  having  spoken. 
Leaving  one  alone. 
Why  should  you  begone. 
To  leave  me  ? 

Mephistopheles. 
Do  not  be  severe! 

The  time  is  near  when  I  must  leave  you. 
Do  not  be  severe! 
If  I  go  and  travel, 
Does  that  mean  that  I  deceive  you  ? 
If  I  travel  on,  does  that  deceive  you? 

Margat'ita. 
I  pray  you  go,  the  night  comes  on ! 

Faust. 
Dear  angel! 

Margarita. 
Pray  you  leave  me! 

Faust. 
Ah!  unkind  one!  to  deny  me! 


MBH»aEt»EB«29iaaa 


FAUST. 


39 


Mephistopheles. 
'Ere  the  scene  becomes  too  moving, 
'Twere  best  to  fly! 

3Iartha.  l  Aside.] 

Now  be  most  civil! 

Methinks, — why,  lie  has  gone! 

Mj  lord !  my  dear  lord ! 

Mephistopheles. 
Yes !    So  let  her  run !    Ouff ! 
Yonder  jolly  matron  loving, 
Was  longing,  upon  my  word, 
Tenderly  to  Aved  the  devil! 

Faust. 
Margarita ! 

Martha. 
Pray  my  lord! 

Mephistopheles. 
How  absurd! 

Good  night!  it  was  high  time — 
See,  'neath  the  balmy  linden, 
Our  lovers  devoted  approaching, 
'Tis  well — better  leave  them  alone. 
With  the  flow'rs  and  the  moon. 
O  night!  draw  around  them  thy  curtain! 
Let  naught  'waken  alarm, 
Or  misgiving  sever! 
Yet,  flowers  and  the  enchanting  charm, 
With  your  odor  so  dreamy, 
Her  senses  bewilder! 

Till  she  know  not  whether  she  be  not  al- 
ready in  heaven. 

Margarita. 
The  hour  is  late!    Farewell! 

Faust. 
Oh !  never  leave  me,  now,  I  pray  thee ! 


Why  not    enjoy  this    lovely  night  a  little 

longer! 
Let  me  gaze  on  the  form  before  me! 
While  from  yonder  ether  blue 
Look  how  the  star  of  eve. 
Bright  and  tender,  lingers  o'er  me! 
To  love  thy  beauty,  too. 

Margarita. 
Oh!  how  strange,. like  a  spell. 
Does  the  evening  bind  me! 
And  a  deep  languid  charm 
[  feel  without  alarm. 
With  its  melody  enwind  me. 
And  all  my  heart  subdue!  [Jsirfe.] 

Let  me  now  try  my  fortune ! 

Faust. 
What  is  this? 

Margarita. 

[^Takiru/  the  leaves  from  a  flower. "^ 

Let  me,  let  me  but  try. 

Faust, 
Was  it  her  fancy! 

Margarita. 
He  loves  me — he  loves  me  not! 
He  loves  me! 

Faust.  IToher.} 

Ah!  'tis  no  tale  betraying; 

The  flower  has  told  thee  true! 

Repeat  the  words  anew 

Tliat  nature's  herald  brings  thee ! 

He  loves  thee! 

In  that  spell,  defy  what  fate  can  do — 

In  love,  no  mortal  power 

Faithful  hearts  can  sever! 

Whatever  the  weal  or  woe, 

We  wiU  be  faithful  for  ever! 

For  ever!  for  ever! 


Andante. 


iil|eE& 


ffl 


?^dZi__i* 


ziitftis: 


ten-der    moon,     O   starry 


p 


'"    fi/^  •       «       "^^      ■•^-      •»-    -1=^        ip--.^ 


40 


FAUST. 


-H^^^=r:^± 


-0 — 0- 
:EE£ 


E^ 


Heav'n    Si  -  lent  a  -  bove  thee  Where  the  an  -  gela  are  enthron'd,   Hear  me  swear  how  dearly  do  I 


Makg. 
f9 — — 


-^' 


-0—9—^—W~Y\- 0- 


-• — »- 


-?— #-*-»-hi »-i— 

ZZ:  FT  —a 


love  thee ! 


Yet  once   a  -   gain,     be-lov-ed   one,  Let  me  hear  thee,      It  is  but  life    to     be 


-K^ i i^=^- — : — 


^i^¥:1= 


-N- 


near  thee,  Thine  own  and  thine  a  -   lone, 


^: 


Yet.... 


-^ 


-i -r^-A — 1 — 1 — |— ^ — I , — ■> ^ — i-#-f  IS" 0   •   #-hb^ 


i!i_«_«r*; 


-^•- 


*     -^ 


:rb:r=::i-:1= 


—A ^r— H ^j — 


jl^ 


^0-^-  0-1^^0-^-0 


:At=t4?L 


gain ! 


'^  N 


Ah!    lov-ed    one!     I  am  thine  own!   lamthiuc  own,  and  thine  a  -  lone. 


^-    ■       €^ — 0-^—0  F» — • — •  0—0-0'-[-0-ii-\ 1 T — ; IV*.  -> — T — ^       .  ^A 


-•■  ii- 


0-0-0 -r  i |-v-'--i — r*- 


JU  M.  Jt.     M. 


m^^^^i^^^^^&M^km^M^^ 


FA  UST. 


41 


Faust. 
Margarita ! 

Margarita. 
Ah!  begone. 

Faust. 
Unkind  one! 

Margarita. 
I  falter! 

Faust. 

To  bid  me  thus  begone! 

Margarita. 
Ah!  begone! 
Ah!  I  dare  not  hear! 
Ah !  how  I  falter !    I  faint  with  fear ! 
Pity,  and  spare  the  heart  of  one  so  lonely. 

Faust. 

Oh,  dear  one,  let  me  remain  and  cheer  thee, 
Nor  drive  me  hence  with  brow  severe  ! 
Margarita,  I  implore  thee! 
The  one  I  love,  the  only  one,  I  implore  thee ! 

Margarita. 
If,  indeed,  you  love  me? 

Faust. 
Margarita ! 

3Iargarita. 

By  that  tender  vow 

That  we  have  sworn,  by  that  secret  torn 

from  me, 
I  entreat  you  only  in  mercy  to  begone ! 

Faust. 

Oh,  fair  and  tender  child! 

Angel,  so  holy,  thou  shalt  control  nie, 

Be  passion  ever  so  wild! 

I  obey — but  at  mom? 

Margarita. 

Yes,  at  morn,  very  early! 
At  morn,  all  day! 

Faust. 

One  word  at  parting! 

The  one,  one  word  of  heaven  say — 

Thou  lov'st  me! 


Margarita. 

[  Hastens  towards  ike  pavilion,  then  stops  short  on  the 
threshold,  and  wafts  a  Liss  to  Faust.  ] 

I  love  thee! 

Faust. 

Were  it  already  morn! 
Ah,  now  aAvay! 

Mcph  istopheles. 
Why,  thou  dreamer! 

Faust. 
Thou  hast  overheard? 

Mepliistopheles. 
Well,  I  have, 

Your  parting  with  its  modest  word. 
Go  back,  on  the  spot,  to  your  school  again! 

Faust. 
Let  me  pass! 

MepJiistopJieles. 

Not  a  step;   you  shall  stay,  and  overhear 

again 
That  which  she  teUeth  to  Charles'  wain. 

You  dreamer!  [Marr/arita  opens  the  window. J 

I  know! 

Look!  there  she  opens  the  window. 

Margarita. 

He  loves  me !  he  Toves  me  ! 

Repeat  it  again,  bird,  that  caUest ! 

Soft  wind  that  faUest! 

When  the  light  of  evening  dieth, 

Bear  a  part  in  the  strain. 

He  loves  mc  !  Ah!  our  world  is  glorious, 

And  more  than  heaven  above  ! 

The  air  is  balmy 

With  the  very  breath  of  love ! 

How  the  bows  embrace  and  murmur ! 

At  mom!  at  moxn! 

Ah,  speed,  thou  night,  away! 

He  will  return !     Come ! 


Faust. 
Margarita. 


Margarita ! 

Ah! 

MephistopJieles 

There!     Ha,  ha,  ha!     Ha! 


42 


FAUST. 


CJwrus. 

ACT  TTT. 

Fold  the  flag,  my  brothers, 

— 

Lay  by  the  spear ! 

We  come  from  the  battle  once  more; 

Scene  I. — Grand  Square. — Procession  of 

soldiers  and 

Our  pale  praying  mothers, 

citizens. —  Valentine  and  Siebel  meet. 

Our  wives  and  sisters  dear, 
Our  loss  need  not  deplore. 

Siebel. 

Margarita ! 

Valentine. 

Margarita. 
My  friend! 

Ah!  by  Mars!  Is  that  Siebel? 

Siebel. 

Again  in  tears! 

Siebel. 

Margarita. 

Yes,  'tis  I,  but — 

Alas! 

You  only  do  not  ask  my  shame. 

Valentine. 
Come  here,  boy! 

Siebel. 

Come,  be  not  shy! 

Tho'  I  am  but  a  boy, 

Where  is  Margarita? 

I  am  a  man  in  my  spirit, 

Siebel. 

And  will  surely  avenge  all  the  wrong  he  has 

done. 

I  think  in  the  church  hard  by. 

He  shall  die ! 

Margarita. 

Valentine. 

W  hat  mean  you  f 

Praying,  I  know  full  well — 

Siebel. 

Praying  to  heaven  for  me ! 

jMy  own  sister,  how  she  will  lend 

What  need  I  should  name  him? 

A  rapt  and  ready  ear 

The  friend!     The  false  betrayer! 

To  the  tale  I  have  to  tell! 

3Iargarita. 

Chorus. 

Ah !  spare  his  name  ! 

Yes  !  'tis  a  joy  for  men  victorious, 

Siebel, 

To  the  children  by  the  fire,  trembling  in 
our  arms, 

Spare  himf  still  can  you  love  him? 

To  old  age  of  old  time  glorious, 

To  talk  of  war's  alarms. 

Margarita. 

Glory  and  love  to  the  men  of  old. 

I  do!     I  must! 

Their  sons  may  copy  their  virtues  bold; 

But  why  should  I  o'ercloud  your 

youth 

Courage  in  heart  and  sword  in  hand, 

With  woes  mine  OAvn? 

Ready  to  fight  or  ready  to  die  for  Father- 

'Tis wrong,  my  friend, 

land! 

To  speak  of  him  to  you! 

Who  needs  bidding  to  dare  by  a  trumpet 

May  heav'n  roAvard  thee! 

blast  ? 

For  all  your  aid  to  me ; 

Who  lacks  pity  to  spare  when  the  field  is 

Those  who  by  riglit  of  virtue  now  disdain  me 

won  ? 

Have  little  pow'r  to  pain  me, 

Who  could  fly  from  a  foe,  if  alone  Or  last, 

While  I  have  pow'r  to  pray! 

And  boast  he  was  true  ? — coward  might  do 

I  go  before  the  altar 

when  peril  is  past.    ^ 

My  repentance  to  lay. 

Now  to  home  again ! 

FAUST. 


43 


We  come,  the  long  and  fierj  strife  of  battle 

is  over; 
Eest  is  pleasant,  and  after  toil 
As  hard  as  ours  beneath  a  stranger  sun, 
Many  a  maiden  fair  is  waiting 
Here  to  greet  her  truant  soldier-lover! 
And  many  a  heart  will  fail  and  brow  grow 

pale  to  hear — 
To  hear  the  tale  of  cruel  perU  he  has  run. 
We  are  at  home !  we  are  at  home ! 

\_All  exeunt  rejoicing. '\ 
\_Enter  Mephistophelcs  and  Fav^t.'] 

Mephistopheles. 

{^Throwing  bach  his  mantle  and  accompanying  him- 
self on  the  guitar.  Ji 

Thou  who  here  are  soundly  sleeping, 

Close  not  thus  thy  heart! 

Caterina !  wake  thee !  wake  thee ! 

Caterina !  wake !   'tis  thy  lover  near ! 

Hearken  to  my  love-lorn  pleading; 

Let  thy  heart  be  interceding. 

Awake,  love,  and  liear! 

Ha,  ha,  ha,  ha,  ha! 

Don't  come  down  untU,  my  dear. 

The  nuptial  ring  appear 

On  thy  linger  sparkling  clearly — 

The  wedding-ring — the  ring  shineth  clear. 


[^Spokev.] 


Faust. 
Cease  thy  heUish  lay! 

Mephistopheles. 

Caterina!  cruel,  cruel! 

Cruel  to  deny  to  him  who  loves  thee — 

For  thee  doth  mourn  and  siah — 

A  single  kiss  from  thy  rosy  lips. 

Thus  to  slight  a  faithful  lover. 

Who  so  long  hath  been  a  rover, 

Too  bad,  I  declare ! 

Ha,  ha,  ha,  ha,  ha! 

Not  a  single  kiss,  my  dear, 

Unless  the  ring  appear! 

Ha,  ha,  ha,  ha! 

\_Enter  Valentine  from  the  Imusc.'] 

Valentine. 
What  is  your  will  with  me  ? 


Mephistopheles. 

With  you,  my  captain  splendid! 

My   humble   serenade   was    not    for    you 


Valentine. 

You  meant  it  for  my  sister! 
You  meant  by  your  jeer. 


intended. 


His  sister! 


Faust. 


[  Valentine  breaks  Mephistopheles  guitar.  ] 

Mephistopheles. 

Is  there  something  that  bites  you? 
Or  perchance  no  music  delights  you. 

Valantine. 

Enough  of  insult !     Reply ! 
By  which  of  you  two  shall  I  be  requited 
For  name  defiled,  for  laurel  blighted  f 
Which  of  you  two  shall  fall  beneath  ray 

sword  ? 
Mephistopheles. 

Will  you  be  mad  ?  Come  on,  my  pupil, 

\_Faust  draws  his  sword.  ] 

And  take  him  at  his  word ! 

Fatist. 

His  eye,  so  stern  and  dark  with  blood. 
With  fatal  might  enthralls  me ! 
Is  not  a  brothers  vengeance  just, 
Ifdeath  befalls  me? 

Valentine. 

Thou  who  rulest  right, 
Thou  knowest  the  voice  that  calls  me, 
My  sword  shall  find  his  heart  outright 
Ifdeath  befalls  me! 

3Icphistophelcs. 

^Such  an  eye,  dark  with  blood. 
Enkindles,  not  appalls  me; 
For  I  smile,  since  in  his  ire 
I  see  good  luck  befalls  me! 
Lean  against  me,  my  friend. 
Be  not  eager  to  fight!  lean  on  me! 
He  shall  have  it. 

\_Faust  and  Valentine  fight — they  make  four  thrusts. 
Valentine  falls.  ] 


44 


FAUST. 


So,  captain,  lie  you  there, 
On  your  last  bed  of  glory ! 
And  now  come  away !  come  away ! 

\^Exeunt  Faust  and  Mephistopheles.'] 

Chorus. 
This  way,  this  way  was  the  noise ! 
In  the  streets  they  were  fighting. 
And  one  is  on  the  ground, 
Over  there  in  the  shade. 

[^Martha  and  Citizers  enter. 1^ 

But  he  is  not  yet  dead! 
He  is  trying  to  rise! 
Come  to  his  aid! 
Support  him,  raise  his  head! 

Valentine. 

Too  late !  too  late ! 

There's  no  need,  good  friends,  to  bewail  me ! 

Too  often  have  I  looked  on  death  to  be 

afraid. 
Now  that  he  is  near. 

\_Entcr  Margarita  at  had-.  ] 

Margarita. 
Valentine !     Valentine ! 

Valentine. 

Margarita,  my  sister, 

What  brings  thee  here?  Begone! 


Mercy ! 


Margarita. 


Valentine. 


Thy  shame  hath  slain  me! 
Her  fine  betrayer's  sword 
Hath  sent  her  brother  home  ! 


Chorus. 
Siebel. 


Her  betrayer! 

Pardon ! 

Margarita. 

Oh  torture  cruel  I  mv  doom  is  come ! 


Siebel, 


Pray  have  mercy ! 


Chorus. 


Her  shame  hath  slain  him! 

Her  shame  hath  sent  her  brother  home! 

Valentine. 

Hear  my  last  words ! 

Margarita,  when  fate  strikes  thee  down, 

Must  thou,  as  1,  be  ready: 

No  use  is  it  to  struggle  or  pray 

When  the  caU  from  on  high  bids  us  to  come 

away; 
Live,  live  meanwhile, 
Enjoy  thy  guilty  splendor. 
Wear  a  rich  robe  thy  white  limbs  to  enfold. 
Cover  with  rings  thy  hand  so  soft  and  tender! 
Laugh  at  the  feast  with  other  women  bold! 
Go,  and  talk  of  thy  mother, 
Who  did  love  thee  so  well, 
And  thy  wild  soldier  brother. 
Live,  and  grow  old! 

And  remember  for  thy  shame  how  he  fell! 
Let  heaven  reject  thee  and  earth  be  thyheU! 

Chorus. 

Do  not  curse  when  thou  liest 

In  the  hand  of  heaven; 

Make  thy  peace  ere  thou  diest. 

Forgive  her,   if  thou  Avouldst  thyself  be 


forgiv'n ! 


Valentine. 


Margarita,  let  me  curse  thee! 

On  thy  death-bed  thou  too  must  lie! 

Ah!  thy  hand  hath  slain  me! 

Like  a  soldier  I  die.  [raientine  dies.'i 

Siebel,  Martha  and  CJwrus. 

Heaven  give  him  rest! 

And  forgive  her  the  sins  she  hath  done. 


Scene  II. — The  Church. — Marfjarita  discovered  kneel- 
ing at  a  font. 

Margarita. 

O  Thou,  whf  on  thy  throne 
Giv'st  an  ear  for  repentance! 
Here,  before  thy  feet,  let  me  pray. 


FAUST. 


45 


Mephistopheles. 

No !  Thou  shalt  pray  no  more ! 
Let  her  know,  ere  she  prayeth, 
Demons  of  ill,  what  is  in  store. 


Chorus  of  Demons. 

Margarita. 

Chorus. 


Margarita ! 

Who  caUsmef 

Margarita ! 

3Iargarita. 
I  falter — afraid! 
Oh!  save  me  from  myself! 
Has  even  now  the  hour  of  torture  begun  ? 

[The  tomb  opens  and  discovers  Mephistopheles  who 
bends  over  to  Marganta's  ear.  ] 

Mephistopheles. 

Recollect  the  old  time,  when  the  angels, 

caressing. 
Did  teach  thee  to  pray. 
Recollect  how  thou  comest  to  ask  for  a 

blessing 
At  the  dawn  of  the  day! 
When  thy  feet  did  fall  back,  and  thy  breath 

it  did  falter 
As  though  to  ask  for  aid; 
Recollect  thou  wast  then  of  the  rite  and 

the  altar. 
In  thine  innocence  afraid! 
And  now  be  glad  and  hear! 
Thy  playmates  do  claim  thee, 
From  below,  to  their  home  ! 
The  worm  to  welcome  thee, 
The  fire  to  warm  thee. 
Wait  but  till  thou  shalt  come! 

Margarita. 

Ah !  what  sound  in  the  gloom 
Is  beneath  me,  around  me? 
Angels  of  wrath?  is  this  your  sentence  of 

cruel  doom? 

CHORAL. 

By  the  Worshipers  in  Church. 

When  the  book  shall  be  unsealed. 
When  the  future  be  revealed. 
What  frail  mortal  shall  not  yield? 


Margarita. 

And  I,  the  frailest  of  the  frail, 
Have  most  need  of  Thy  forgiveness! 

Mephistopheles. 
No !     Let  them  pray,  let  them  weep ! 
But  thy  sin  is  deep,  too  deep, 
To  hope  forgiveness! 
No!  no! 

Choral. 

Where  shall  human  sinner  be, 
How  lie  hid  in  earth  and  sea, 
To  escape,  escape  eternity? 

Margarita. 
Ah!  the  hymn  is  around  and  above  me, 
It  bindeth  a  cord  'round  my  brow! 

Mephistopheles. 
Farewell!  thy  friends  Avho  love  thee! 
And  thy  guardians  above  thee ! 
The  past  is  done!     The  payment  now! 

Margarita. 
0  Thou !  on  Thy  throne,  who  dost  hear  me 
By  the  side  of  my  grave, 
Let  a  tear  of  mercy  fall  near  me. 
To  pity  and  save! 

Cltorus. 
O  Thou  on  Thy  throne,  who  dost  hear  us 
That  go  down  to  the  grave, 
Let  Thy  mercy  be  near  us. 
To  pity  and  save. 

Mephistopheles. 
Margarita!     'Tis  forever! 
Mine  art  thou! 

Margarita. 

-I^"--  IMephistapheles  disappears.} 


ACT  IV. 

WALPURGIS    NIGHT 

Faiist. 
No  farther! 

Mephisto2)heles. 
Did  you  not  engage  here  to  follow  me  with- 
out doubting? 


46 


FAUST. 


Faust. 
Where  are  we  now? 

Mephistopheles. 

In  my  own  empire! 

For,  doctor,  here  all  I  possess. 

Behold,  this  is  Walpurgis  night ! 

CI  torus.  iInvisible.-\ 

Behold,  this  is  Walpurgis  night !     Ha,  ha, 

ha,  ha! 
Faust. 
My  blood  is  frozen! 

Mephistnpheles. 

Behold,  the  Orient's  shining  splendor 

At  my  calling  now  stands  before  thine  eyes. 

(  Transformation . ) 

Mephistopheles. 

Till  the  dawn  of  morning  appears. 
All  unseen  by  the  eyes  of  profane  ones, 
To  you  I  offer  at  this  feast  of  courtesans 
and  queens  a  place  here. 

Chorus. 
See,  the  goblets  they're  filling! 
The  names  of  ancient  Gods 
Make  the  air  all  around  us 
Ring  with  a  joyful  noise. 

Mephisto2)heles, 

Queens  of  beauty  rare. 

Famed  in  olden  time, 

Cleopatra  with  sweet  eyes 

And  Lais  with  beauteous  brow — 

Let  us  hasten  to  join  for  a  moment  this 

banquet  so  gay! 
Come  on!  come  on!  heal  the  burning  fever 
Of  thy  wounded  heart. 
Take  this  full  goblet. 
Now  find  forgetfulness  of  the  past  in  the  cup! 

Cliorus. 

See,  the  goblets  they're  filling! 
The  names  of  ancient  Gods 
Make  the  air  all  around  us 
Ring  with  a  joyful  noise. 


ORAND    BALLET. 

(After  t/ie  Ballet.) 

MephistopJieles. 

Let  thine  enchantment.  Goddess  of  Joy, 
Extinguish   all   remorse    in    his    heart    so 

entranced. 
Goddess  of  Joy  and  Delight,  extinguish  ail 

remorse. 
Let  him  forget,  yes  forget  Margarita! 
What  do  you  dread? 

Faust. 

Do  you  not  see  her  there,  before  us. 

So  pale  and  speechless. 

With    an    ornament    strange    around    her 

beauteous  neck — 
See,  she  conceals  it,  a  red  riband — 
That  narrow  stripe  so  red,  just  like  the  cut 

of  a  sword-blade — 
Margarita !  I  feel  my  hair  standing  on  end — 
Her  I  must  see !     Come !     I  will  have  it. 


ACT  V. 


A  Prison. — Marfjarita  on  the  ground  asleep. — Enter 
Faust  and  Mephistopheles  at  the  prison  door. 


Begone ! 


Faust.      [7o  Mephistopheles.^ 

Mephistopheles. 

The  day  is  daAvning, 

The  scaffold  has  been  set; 

Compel,  without  delay. 

Thy  beloved  one  to  follow  thee! 

The  maiden  sleeps — the  keys  are  here! 

On  but  thyself  it  depends  to  save  her. 

Faust. 
Begone ! 

Mephistopheles. 

Be  swift!  I  shall  wait  at  the  door. 

[_Exit  Mephistopheles.  ] 

Faust. 
My  heart  is  torn  with  grief  and  repentance ! 
Oh  what  anguish !   O  worm  that  will  not  die ! 


FAUST. 


47 


O  fire !  no  art  can  stay ! 

She  lies  there,  at  my  feet. 

The  young  and  lovely  being, 

Imprisoned  here  because  of  me! 

As  if  herself,  not  I,  were  guilty  ! 

No  wonder   that  her   fright    hath    reason 

taken  away; 
Our  little  child,  O  heaven !  was  slain  by  her 
In  sudden  madness ! 
Margarita !    Margarita ! 

[^Margarita  awakes  and  rises.  ] 

Margarita. 

Ah !  do  I  hear  thee  once  again, 
The  darling  song  of  time  gone  by; 
That  was  not  the  cry  of  the  demons 
Rejoicing  in  my  ruin!  \ 

'Tis  his  own  voice  I  hear! 


Marerarita ! 


Faust. 


Margarita. 


His  hand  is  here  to  save  me! 

It  is  he!  it  is  he!  I  am  free! 

For  mine  own  faithful  love  is  here! 

Ah!   I  love  thee  only! 

Love  thee,  love  thee  only; 

Nor  shame  on  the  scaffold 

Can  make  my  heart  afraid! 

Since  thou  cam'st  to  find  me, 

No  tears  shall  blind  me! 

Take  me  up  to  heaven, 

To  heaven  by  thy  aid! 

Faust. 

Yes,  I  love  thee  only, 
Let  who  wiU  goad  me  on, 
Or  mock  me  or  upbraid! 
Thy  look  doth  appall  me. 
Thy  truth  doth  recall  me! 
Earth  will  grow  as  heaven. 
By  thy  beauty  made ! 

Margarita. 
Not  yet ! 
This  is  the  fair 
Where  I  was  seen  by  you. 
In  happy  days  gone  by — 
The  day  your  eye  did  not  dare 
To  meet  my  eye! 


"High-bom  and  lovely  maid, 

Forgive  my  humble  duty! 

Let  me,  your  willing  slave. 

Attend  you  home  to-day." 

"No,  my  lord,  not  a  lady  am  I, 

Nor  yet  a  beauty — not  a  lady,  not  a  beauty ! 

And  do  not  need  an  arm 

To  help  me  on  my  way!" 

Faust. 
Come  away,  away,  if  thou  lov'st  me! 

Margarita. 

How  my  garden  is  fresh  and  fair, 
Every  hour  is  incense  breathing. 
And  through  the  still  evening  air 
A  cloud  of  dew  with  perfume  wreathing. 


Faust. 


Come,  Margarita! 


No! 


Margarita. 


Faust. 
Come,  they  shall  not  harm  thee ! 

[^Enter  Mephistopheles.J 

Mcphistopheles. 

Then  leave  her!  then  leave  her! 
Or  remain  to  your  shame. 
If  it  please  you  to  stay. 
Mine  is  no  more  the  game! 

Margarita. 

Who  is  there?  who  is  there? 
Dost  thou,  see  there  in  the  shadow. 
With  an  eye  like  a  coal  of  fire. 
What  does  he  here? — he,  who  forbade  me 
to  pray ! 

Mephistopheles. 

Let  us  go,  ere  with  dawn 
Doth  justice  bring. 

Hark !  the  horses  are  panting  in  the  court- 
yard below. 
To  bear  us  away! 
Come,  ere  it  is  day, 
Or  stay  and  behold  her  undone! 


48 


FAUST. 


Margarita. 
Away,  thou  fiend,  away! 

Faust. 
Come  ! 

Margarita. 

Away,  for  I  will  pray! 
Faust. 

Come,  mine  own,  ere  'tis  too  late  to  save 

thee! 
Margarita. 

Holy  angel!  in  heaven  blest, 
My  spirit  longs  with  thee  to  rest! 
Great  heaven !  pardon  grant,  I  implore  thee, 
For  soon  shall  I  appear  before  thee ! 

Faust. 

Come  with  me,  I  command! 
Follow  me ! 

Margarita. 

Oh  save  me  ere  I  perish  forever ! 

Faust. 
Come  with  me ! 

MephistopJieles. 
Let  us  leave  her! 

Come,  or  be  lost !     Come,  or  be  lost ! 
For  the  day  is  near! 

Margarita. 

To  my  dispair  give  ear,  I  pray  thee! 

Holy  angel  in  heaven  blest, 

My  spirit  longs  with  thee  to  rest ! 


Faust. 

Come,  come,  wilt  thou  not  hear? 

Come,  lean  on  my  breast! 

The  early  dawn  is  gray! 

Come,  oh  come;  I'm  here  to  save  thee. 

MephistopJieles. 

Come  away,  come  away  !  the  dawn  is  gray  j 
Come,  ere  they  claim  thee; 
Come  away,  the  dawn  is  gray! 
If  the  gii'l  be  not  possest— 

Fattst. 
Margarita. 

3Iargarita. 

But  why  such  an  air  of  dispair  f 

Faust. 
Margarita ! 

3Iargarita, 

But  why  thy  hand  covered  with  blood? 
Go!  I'm  not  thy  prey.  [Dies.l 

Faust. 
Ah! 

MephistopJieles. 
She  is  mine! 

CJiorus  of  Angels. 
No !  not  so ! 

All  who  have  sinned  here 
May  here  repent  the  sin 
By  their  holy  living. 
Let  earth  be  severe! 
Let  earth  be  severe! 
Heaven  is  forgiving. 


END  OF  THE  OPERA. 


FBANZ   LISZT. 

Messrs.  STEINWAY  8l  SONS: 

Gents:  The  magnificent  Steinway  Grand  Piano  now  stands  in  my  music  room, 
and  presents  a  harmonic  totality  of  admirable  qualities,  a  detailed  enumeration  of  which  is 
the  more  superfluous  as  this  instrument  fully  justifies  the  world-wide  reputation  that  for 
years  you  have  everywhere  enjoyed. 

After  so  iriuch  well-deserved  praise,  permit  me  also  to  add  my  homage,  and  the  ex- 
pression of  my  undisguised  admiration,  with  which  I  remain, 

Very  sincerely  yours, 

FRANZ  LISZT 


ANTON  RUBINSTEIN 

New  York,  May  24,  1873. 
Messrs.   STEINWAY  &  SONS: 

Gentlemen:     On  the  eve  of  returning  to  Europe,  I  deem  ic  my  pleasant  duty  to 

express  to  you  my  most  heartfelt  thanks  for  all  the  kindness  and  courtesy  you  have  shown 

me  during  my  stay  in  the  United  States;  but  also,  and  above  ail,  for   your  unrivaled 

Piano-Fortes,  which  once  more  have  done  full  justice  to   their  world-wide   reputation. 

both  for  excellence  and  capacity  of  enduring  the  severest  trials      For  during  all  my  long 

and  difficult  journeys  all  over  America,  in  a  very  inclement  season,  I  used  and  have  been 

enabled  to  use,  your  Pianos  exclusively  in  my  Two  Hundred  and  Fifteen  Concerts,  and 

also  in  private,  with  the  most  eminent  satisfaction  and  effect. 

Yours  very  truly, 

ANTON  RUBINSTEIN 


THEODORE    THOMAS. 

Cincinnati,  July  19th,  1879. 
Messrs.  STEINWAY  &  SONS: 

Gentlemen:  I  consider  the  Steinway  Piano  the  best  Piano -at  present  made,  and 
that  is  the  reason  why  I  use  it  m  private  and  also  in  all  my  public  concerts. 

As  long  as  the  Pianos  of  Messrs.  Steinway  &  Sons  retain  that  high  degree  of  excel- 
lence of  manufacture,  and  those  admirable  quahties.  which  have  always  distinguished 
them,  I  shall  continue  to  use  them  in  preference  to  all  other  Pianos. 

RespectfiiUy  Yours. 

THEODORE  THOMAS. 


STBINWAY 


-si^ 


GRAND 
PIANOS  I 


mm 


I  UPRIGHT 
'        PIANOS 


The   recognized   Standard   Pianos  of  the  world,    pre-eminently  the   best  instruments  at  present  made,   exported   to  and  sold 

in  all  art  centres  of  the  globe,  preferred  for  private  and  public  use  by  the  greatest  living  artists, 

and  endorsed,  among  hundreds  of  others,  by  such  as: 


RICHARD  WAGNER, 

FRANZ  LISZT, 

ANTON  RUBINSTEIN, 
HECTOR  BERLIOZ, 

FELICIEN  DAVID, 


CHARLES  GOUNOD,      w.  TAUBERT, 


S.  B.  MILLS, 

J.  MOSCHELES, 

ALBERT  NIEMANN, 
NICOLA  RUBINSTEIN, 

CAMILLE  SAINT-SAENS, 

ANTON  SEIDL, 


AMBROISE  THOMAS, 

THEODORE  THOMAS, 

A.  DREYSCHOCK, 
STEPHEN  HELLER, 

ADOLPHE  HENSELT, 

ALFRED  JAELL, 

JOSEPH  JOACHIM, 
RAFAEL  JOSEFFY, 

MORIZ  ROSENTHAL, 

CONRAD  ANSORGE, 
THEODORE  LESCHETIZKY, 
FRANZ  RUMMEL, 

A.  MARMONTEL, 

WILLIAM  MASON, 


RUDOLPH  WILLMERS, 

CARL  BAERMANN, 

CARL  WOLFSOHN, 

AND  ]{T  MESDAMES 

ADELINA  PATTI, 

ETELKA  GERSTER, 

TERESA  TITIENS, 
ANNETTE  ESSIPOFF, 

ANNA  MEHLIG, 

MARIE  KREBS, 
ADELE  AUS  DER  OHE, 

PAREPA  ROSA, 

MINNIE  HAUK, 

EMMA  JUCH, 

&C.,   &LC. 


ILLUSTRATED  CATALOGUES  MAILED  FREE  ON  APPLICATION. 


Warerooms,  Steinway  Hall,  107—111  E.  14th  St.,  New  York. 


Steinway  Hall,  Stein  way's  Pianofabrik, 


1 5  Lo'wer  Seymour  St.,  Portman  Sq.,  "W., 
LONDON,  ENGLAND. 


St.  Pauli,   Neue  Rosen-Strasse,    20-24, 
HAMBURG,  GERMANY. 


H.    A,    ROST,   PRINTER,    14    FRANKFORT    STREET,    NEW    YORK. 


Standard  Opera  Librettos 

All  librettos  have  English  text.  Additional  texts  are  indicated  by  Italic  letters,  as  follows: 
/,  Italian;  G,  German;  F,  French.  Those  marked  with (*) contain  no  music  and  are  15  cents 
a  copy.    All   the   others   have  the  music  of  the  principal  airs  and  are  25  cents  each, 


G— Z 


Title 
Grand  Duchess  of 
Gerolstein,  The 

♦Hamlet 

Jewess,  The 

Konigin  von  Saba 
(Queen  of  Sheba) 

LakmS 

Lily  of  Killamey,  The 

Linda  di  Chamouniz 
♦Little  Duke,  The 

Lohengrin 

do. 
♦Lovely  Galatea,  The 

Lucia  di  Lammermoor 

Lucrezia  Borgia 
♦Madame  Favart 

Manon 

Maritana 

Marriage  of  Figaro 

Martha 
♦Mascot,  The 

Meistersinger,  Die 
(The  Mastersingers) 

Mefistofele 

Merry  Wives  of 
Windsor,  The 

Mignon 

Mikado,  The 
♦Musketeers,  The 
♦Nanon 

Norma 
♦Olivette 

Orpheus 


Text 


Composer 


i^        Jacques  Offenbach 

Ambroise  Thomas 

I,        Jacques  F.  Halivy 

G.  Karl  Goldmark 

I.  L^o  Delibes 

Sir  Jules  Benedict 
I,  Gaetano  Donizetti 

Charles  Lecocq 
G.  Richard  Wagner 

I.  do. 

Franz  von  SuppS 
I.  Gaetano  Donizetti 

I.  do. 

Jacques  Offenbach 

F,  Jules  Massenet 

Wm.  Vincent  Wallace 

I.  W.  A.  Mozart 

I.   Friedrich  von  Flotoiv 

Edmond  Audran 


G. 
/. 


Richard  Wagner 
Arrigo  Boito 


Otto  Nicolai 

/.  Ambroise  Thomas 

Sir  Arthur  S.  Sullivan 

Louis  Varney 

Richard  Genee 

J,  Vincenzo  Bellini 

Edmond  A  udran 

C.  W,  von  Gluck 


Title 

Otello 

Pagliacci,  I 

Parsifal 

Pinafore  (H.M.S.) 

Proph^te,  Le 

Puritani,  I 

Rheingold,  Das  (The 
Rhinegold) 

Rigoletto 

Robert  le  Diable 

Romeo  et  Julietta 

Romeo  e  Giulietta 

Samson  et  Dalila 

Semiramide 

Siegfried 
♦Sleeping  Queen,  The 

Sonnambula,  La 
♦Sorcerer,  The 
♦Spectre  Knight,  The 
♦Stradella 

Tannhauser 

Traviata,  La 

Tristan  und  Isolde 

Trovatore,  II 

Ugonotti,  Gli  (The 

Huguenots) 

Verkaufte  Braut,  Die 
(The  Bartered  Bride) 

Walkiire,  Die 

William  Tell 

Zauberflote,  Die  (The 
Magic  Flute) 


Test  Composer 

/.  Giuseppe  Verdi 

/.  R.  Leoncavallc 

G.  Richard  Wagfief 
Sir  Arthur  S.  Sullivan 

I.  Giacomo  Meyerbeer 

J.  Vincenzo  Bellini 

G,  Richard  Wagjtet 

/.  Giuseppe  Verdi 

I.  Giacomo  Meyerbeer 

F.  Charles  Gounoa 

I.  do. 

F.  Camille  Saint- Saem 
I.  Gioacchino  A .  Rossini 

G.  Richard  Wagner 
Michael  Wm.  Balft 

/.  Vincenzo  Bellim 

Sir  Arthur  S.  Sullivan 

Alfred  Celliei 

Friedrich  von  Flotou 

G.  Richard  Wagnet 

J.  Giuseppe  Verdi 

G.  Richard  Wagnei 

/,  Giuseppe  Verdi 

J,        Giacomo  Meyerbeer 

G.       Friedrich  Smetanu 
G.  Richard  Wagnet 

I.   Gioacchino  A .  Rossini 


G. 


W.  A.  Mozan 


®    ®    OLIVER  DITSON  COMPANY    ®    © 


14  DAY  USE 

RETURN  TO  DESK  FROM  WHICH  BORROWED 

MUSIC  LIBRARY 

This  book  is  due  on  the  last  date  stamped  below,  or 

on  the  date  to  which  renewed. 

Renewed  books  are  subject  to  immediate  recall. 


A' IE  28  1970 


NOV  16  1970 


Hm  2S  I97Q 


MAR  1 0  197^- 


[iiG2  9  1977 


1:0V  A     19% 


Due  end  of  quartW 

Subject  to  recall  afte^"  •"- 


OCT  2 1  m 


WAR  4    1979 


SLP  17  1981 


LD  21A-5m-7,'66 
(G4427sl0)476 


General  Library 

University  of  California 

Berkeley 


Cjctulord  ^=1 

OAYLAMOUNT®     ' 
PAMPHIET  BINDER 

Syracuse,  N.Y.  \ 
Stockton,  Calif.; 


ML50.G6.F3  1880 
C037525871 

U,C    BERKELEY  LIBRARIES 


CD37SESfi71 


DATE  DUE 


Music  Library 

University  of  California  at 
Berkeley 


V 


